The three legged stool has the advantage over the four legs because it is stable even on an uneven surface–it was traditionally an ideal milking stool also because the milker could lean forward into the cow without losing balance. The tripod structure is so simple and, once the three legs are pinned to the seat and at the cross, there is no further need for engineering–no other struts or bracing. It cannot move. For this reason the Indian Tepee is considered to be the perfect tent structure and most suitable for nomadic life.
The legs are stringy bark and the seat and back yellow box. I made a paste of sawdust, PVA, colour, and turquoise chips to fill the cracks–once it is dry you run over it with the sander and it looks like real inlay.
The seat is like a bicycle saddle with ‘stirrups’ below.
This one-person bench seat weighs a ton–all antique hardwood. It goes out on the veranda and, in lieu of cushions, the seat and back-rest are hollowed out to make it as comfortable as a moulded plastic chair. The arm rests and the crown piece are from the same wisteria–the twisted trunk was sliced down the middle on the band saw revealing a nice pattern and good colour.
This stool features a piece of wisteria in a loop-de-loop shape under the seat–it grew around a loose paling on the back fence of my local electrician, one John Cafe, whom some of you will remember–he came to live in Bega some 35 years ago and is still the same likeably-gruff, sincere guy with the dry sense of humour.
The three oval shaped centre pieces are painted transparently so that the nice pattern of the texture of the waferboard (chipboard packing material) shows through–the rest is primitive needlework.
It is 2.5 m X 1.0m
“Colour! What a deep and mysterious language, the language of dreams.” –Paul Gaugin
“The craving for colour is a natural necessity just as for water and fire. Colour is a raw material indispensable to life. At every era of his existence and his history, the human being has associated colour with his joys, his actions and his pleasures.” –Fernand Leger
The colours in the chair are inspired by the multi coloured local parrots. Even the velvet fabric is like the bird–it shines either dark or light depending on what angle it is viewed, how the light strikes it. The curved wood crowning the chair is a piece of drift-wood with stones entrapped from its origins as a tree root (I added a few stones where the others had fallen out). The other wood is Cottonwood I think with Honey-suckle vines twining around it.
The traditional hunter-gatherer used every part of the animal or plant. Nothing was wasted. Likewise I like to use up the off-cuts of previous jobs.
This basket has a skeleton of cuttings from the Banksia Rose on the porch (which needed pruning). The gaps are filled with off-cuts of various types of wood shaped to fit. It is all tied together with strips of cloth and coloured string. These 200-300 ties make it very sturdy. The weight of the wood makes it more a bowl than a basket.
I needed something to keep my growing collection of twine and thread. It is 60cms in diameter.
I have a little aversion to instruction manuals–they can discourage original thinking and problem solving. I prefer to learn by doing, like a pioneer (you then own it more).
This chair is a practice for mortise and tenon in preparation for some balustrades I am collecting wood for–if I could make a chair that does not wobble, I can make a firm balustrade!
The chair turned out rock solid and I copied the dimensions and angles from another chair so that it would also be super comfortable (so you don’t even feel the body).
The fabric is mostly velvet and the seat is shaped like a saddle (a bucket seat)–very snug..
Every design follows the found piece.