| dc.description.abstract | In my left hand I hold a thin piece of scrap wood about the length
of my forearm. In my right hand, a chisel-ground knife called a
kiridashi. I push the knife into the wood, and I observe the shaving
extend out and curl outward. This thesis is simultaneously a search of the meaning in that
inflection initiated in wood, and an exploration of a way to continue
that inflection. As I continue working the inflection of curling
wood, I begin a process of making. First whittling pieces of wood,
then making spoons and bowls, then making carving tools, then
making copper-working tools, then making copper bowls and
dishes, and finally renovating a tea pavilion which I built several
years before. However, I am interested not so much in the process
of making as I am in the process of remaking. As I carve the recess
of a bowl, or hammer a curve into the cutting edge of an adze
iron, I am not investigating the making of that object in isolation,
but instead interpret the act of making that particular thing as an
act of remaking the original inflection I first observed in a curling
shaving of wood. I owe the conviction and patience needed for this thesis greatly
to my studies in music. It prepared me for the slow and intuitive
process of remaking. | en |
