ScottWynnAtelier

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Meet the Artist


 

  • About This Artist

    A third generation woodworker I have been designing and making furniture and accessories since 1976, primarily out of wood, but also other materials where I think their use might be appropriate and exciting; materials such as brass, steel, copper, aluminum, ceramic, paper, linoleum, concrete. Though I work at a variety of scales, I find that the successful design of furniture and the everyday things we use provides the most challenges — and the most rewards—and possibly serves the most people.

  • Q&A With This Artist

    A: Intensely interested in traditional techniques, their appropriate application, and their effect on the design of a piece I have written books and articles on traditional hand tools and their use, and continue to explore the design of objects and spaces, how they are used everyday, and how the materials and tools used in their fabrication affect their final shape.

    A: One of the differences between crafting a piece and manufacturing it is that crafters are able to respond to variations in their medium. Variation in color, grain, density, and outright defects gives the crafter the opportunity to exploit these differences and create pieces of uniqueness, hopefully uniquely suited to the task and the user. Material which might be rejected by a manufacturer can yield work of great beauty. Wood is one of the most challenging materials in this respect.

    A: My primary medium of choice is wood; I also use brass, steel, copper, aluminum, ceramic, paper, linoleum, concrete and other materials where I think their use might be appropriate and exciting. As primarily a furniture maker, the use of the piece will often initiate the scale and volume of the design. I then try and rethink how it might be built, as I think structure, movement in using the piece and movement around the piece, hardware and connectors and connections should all say something.

    A: Craft is important: it is not merely the production of an object. For the maker it results in the full integration of movement with awareness: In a world which increasing emphasizes the visual only and diminishes the involvement of the body, we are becoming increasingly aware that this mindfulness is important to not only our mental, but also our physical health. For the user, this mindfulness can be subtly transferred, often proportional to the level of skill and intent of the maker.



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