The People Have Spoken

What good is a wooden eating spoon?

If you ask the people who frequented my Etsy shop since its inauguration two weeks ago, not much. So far among the tally of items sold: cooking/serving spoons – 10, eating spoons – 0.

Redbay eating spoon.

It’s a bit of a shock to the system for an old spoon carver like myself. I’ve surrounded myself with an Instagram feed and Facebook Groups that include a daily abundance of carved spoons. I’d estimate that 90% or more of the spoons that I see on social media are eating spoons.

It makes sense if you’re a carver. Cooking and serving spoons are big. They take at least two or three times as long to carve as an eating spoon, and they take up a commensurate quantity of space in the kitchen. Once you get the spoon carving bug, you’ll probably start out with a few cooking spoons before quickly realizing that they’re going to consume every junk drawer in the kitchen if you don’t start giving some away. Sure, a few of the prized specimens will remain in the vase on the counter meant for oft-used utensils, but you’ll quickly settle on your favorites and the rest will stored in a dark corner, forgotten and forlorn.

Eating spoons, on the other hand, take up little of both your time and space. You can turn out a rather nice one in an hour or two. Unlike cooking spoons, for which a single spoon will suffice to prepare and serve an entire meal for the family, eating spoons are used in quantity. They’re cheap to ship and easy to carry to swap meets, so they make a convenient currency among spoon carvers. Most spoon carvers, therefore, will quickly switch from carving cooking spoons to mostly eating spoons.

But we forget, sometimes, how strangely the rest of the world views us and our wooden eating spoon habit. I know, sometimes it seems as though the whole world is carving spoons, but trust me: That’s just another social media bubble that we’ve created. “Normal” people think wooden eating spoons are weird. Eating spoons should be metal. They should stack neatly in a flatware tray, not lovingly displayed on a wall rack. They should have shiny polished bowls, not gently faceted surfaces from the hook knife. To “normal” people, the wooden eating spoon elicits imagery of a peasant sipping watery porridge from a communal bowl. It’s a relict of a bygone era.

The wooden cooking spoon, meanwhile, reminds people of grandma’s chicken and dumplings. Or grandpa’s peanut brittle. It feels nostalgic, but not antiquated.

The irony, of course, is that many of the most talented and creative contemporary woodworkers I know are spoon carvers. Check out the work of Maryanne, Amy, or Adam if you don’t believe me. My own work may not compare to theirs, but I can tell you that few things bring me as much joy as eating a bowl of mint chocolate chip ice cream with a little birch spoon that I carved for myself at Greenwood Fest three years ago.

Honestly, I think a wooden eating spoon is a bit like good beer or bourbon: You probably won’t like it the first time you try it, but if you’re motivated to like it, it’ll soon be one of those simple pleasures in life that you’re not likely to want to give up (and unlike beer or bourbon, you’ll not find yourself half-naked and surrounded by empties in the back of a pickup truck if you have one too many wooden spoons). Geez, I’m a terrible salesman. To conclude this subtle sales pitch, my little menagerie of eating spoons are patiently awaiting new owners. I’m rather proud of them. I think you’ll enjoy them as much as I do if you give them an honest try. But I must confess, I doubt if I’ll be carving many more. As far as I’m concerned, the people have already spoken.

Plimoth

A place that has been on my bucket list for a number of years is Plimoth Plantation – the living history museum in Plymouth, Massachusetts where Peter Follansbee worked for 20 years, and cut his teeth as a 17th-century New England joiner. Sadly, most of the museum’s long-time reenactors departed in what seems to be a less-than-amicable split a few years ago, and Peter was among them.

Nonetheless, I decided to swing by on my way to Greenwood Fest a couple of weeks ago, and I wasn’t disappointed. Peter’s fingerprints are all over the place.

A few of his pieces (including the court cupboard and the chest with drawers pictured below) are housed inside climate-controlled buildings. These painted pieces are admittedly a bit garish to modern eyes, but they give you a chance to see the pieces as the would have looked when they were brand new, 350 years ago:

Details of the court cupboard

Riven oak, roughly planed on the inside

Side-hung drawers

Neatly joined side panels

Split turnings and geometric moldings

The court cupboard

A chest with drawers

 

Most of Peter’s work can be found in the village: a collection of mostly one-room timber frame cottages. The buildings are as quaint as you can imagine: sheathed in weathered, riven oak clapboards, topped with roofs of thatched cattails, each one with a neat kitchen garden in the back yard. If someone had a bed-and-breakfast that was set up like this, I’d be the first to sign up!

A barn

Fenced paddock

Kitchen gardens behind every home

A place for cows

Looking down on the village

Repairing the siding

Riven clapboards

 

The home’s interiors are dimly lit but surprisingly welcoming. There are no “fireplaces” to speak of – just a rocked wall in a corner where the cooking and heating fires are built. Some of the homes have real chimneys, but others just have a small vent atop the gables that keep the smoke moving out of the house. It was more effective that you might imagine! All of the homes were appointed with a bed and basic kitchen implements, not to mention a slew of joined oak furniture.

No “fireplaces” – just a rocked wall in one corner.

A spartan “kitchen”

A re-enactor with freshly steamed mussels

Spoons – looking properly English

Wattle-and-daub infill between the timberframe members

Cool workbench.

 

There were chairs of all kinds from basic joint stools…

A simple, painted joint stool

Joint stool top. Notice the protruding pegs that hold the top to the frame.

…to proper joined and turned chairs:

A proper English wainscot chair.

A turned chair, looking very Dutch. Many of Plimoth’s early residents had previously lived in the Netherlands

I forget what Peter calls these chairs. I call ’em ladderbacks, but he has a different name.

 

Not to mention carved boxes of all kinds:

Box with a till

Peter started to mark out this carving, then for some reason he gave it up…I love seeing this stuff.

Geometric-looking carving pattern

Lunettes

This was my favorite carving: a dragon! It seemed like an unusual departure from most early English work.

 

For me, the best part about the visit to Plimoth was the opportunity to appreciate the visual impact of Peter’s work in situ. When you see 17th-century carving as it is meant to be seen – i.e., in dim dwellings primarily illuminated by raking light from small windows or lamps – it makes perfect sense. The shallow relief carving stands out proudly in these conditions. The chests and cupboards looked alive in the humble cottages, as compared to similar pieces in the immaculately lighted and air-conditioned environs of the museum.

I was also reminded that homes from this period, with their hewn timbers and organic wattle-and-daub walls, were not deprived of texture as we are with our sterile sheetrock boxes. It doesn’t take much to stand out against a blank slate. These pieces that seem garish or “busy” against a plain background fit cozily into the more lively interiors of their day.

So, while I don’t necessarily intend to switch my focus to Jacobean carving after my visit to Plimoth, I can certainly say that it was an inspiring and informative visit. The chance to touch this furniture, to open doors and drawers, and to photograph (without getting yelled at) is a rare opportunity at any museum. I wished very much that I had been able to visit five years ago, when Peter and Paula the rest of the Plymouth Craft gang still inhabited the grounds. But it’s safe to say that their spirit is still present, and it will be for a long time.

Coming Back Down to Earth

If you follow the online greenwoodworking communities at all, then you’re probably well aware of the smashing success of Greenwood Fest in Plymouth, MA over the past weekend. Instagram, the Green Woodwork Facebook group, and Peter Follansbee’s blog have been aflurry with photos and positive comments since Sunday night. I was fortunate to be in attendance, and I can say without reservation that it was one of the most inspiring events that I’ve ever attended.

Really, I don’t even know where to begin. I still haven’t quite processed everything that I learned, nor fully appreciated the people I was able to meet. I met folks who have been a huge inspiration on my journey over the last few years, as well as folks who have slipped under my radar, but will now be certain to inspire me over the coming years.

I got to talk to Dave Fisher about bowl carving and lettering (more on that in a post to come):

Dave Fisher at the stump.

One of Dave’s incredible ale bowls. My wife promptly requested a bird-bowl when she saw his pictures.

I got to witness Peter Follansbee’s skilled and efficient carving first-hand:

Peter showing off his carved oak panel.

Peter takes advantage of any blank space that he’s given. I love his little scrub plane.

I talked with Tim Manney about steam-bending and chair-making. I’ve been absorbed with Windsors for the last year, but Tim actually got me excited about ladderbacks again. And if I ever build another shavehorse, it will be one of Tim’s design:

Tim at the shavehorse.

One of the folks that I was most happy to meet stepped in at the last moment when another presenter had to cancel. If it seemed that Darrick Sanderson was under-the-radar when the weekend began, he was certainly well-known by the end of the week. Of course I was already quite familiar with him – I’ve been following his work for about six months and I was delighted when he got added to the schedule.

You may remember him from a post a while back: The Best Spoon I’ve Ever Seen. Well, I must revise my previous post. Darrick brought a whole chest full of The Best Spoons I’ve Ever Seen. Seriously. Every single one of them was amazing. His productivity, his creativity, and his control over form is demoralizing stunning. Like Dave Fisher, Darrick is one of those guys who is at the forefront of his craft, yet still finding a way to drive it forward. It’s a bit humbling, knowing that I was happily carving away in my little silo for 6 years, making perfectly nice spoons, but not doing anything particularly impressive. Meanwhile, Derrick burst through to the front of the pack in a couple short years, and the rest of us have been struggling to keep up ever since. He’s a special talent, and I expect that his impact and renown will continue to grow over the coming years.

If I seem like I’m gushing, just feast your eyes on this cornucopia of spoons. (And oh yeah, did I mention he also does wonderful carved and pole-turned bowls as well? I told you, he’s impressive.)

Darrick Sanderson’s spoons and bowls.

Darrick at the pole lathe. I gave it a spin – lots of fun, but a bit intimidating when your first try is in front of a crowd!

Seriously, this stuff is ridiculously good. Completely knife-finished spalted beech serving spoon. I should have bought this one. Still kicking myself.

So anyway, that was my weekend in a nutshell. Like the title said, I’m still coming back to earth. Not quite there yet, but I’ve already been putting some things that I learned into practice. I have a feeling this was one of those events that will stick out in my memory for a long, long time.

 

Bodging in 1935

To brighten up your Monday, I though you might enjoy this wonderful film of English bodgers from just 80 years ago, making Windsor chairs in a manner that would be entirely familiar to chairmakers 300 years ago (and indeed, entirely familiar to me today!) One thing that strikes me about the film is the height of the lathes used by the turners. Having learned on a more conventionally-sized lathe, I’d have a difficult time working at shoulder height, though it would certainly lend a closer view of the work. Hope you enjoy the video as much as I did!

The Best Spoon I’ve Ever Seen.

I’ve mentioned a time or two the greenwoodworking group on Facebook. It took a few days to get adjusted to the barrage of spoons and other woodcrafts on my newsfeed, but my brain quickly started making connections between certain craftspeople and the work that they produced. One name that kept popping up repeatedly alongside gorgeously sculpted eating spoons was Derek Sanderson. I soon found myself looking at my own spoons, and I realized that they seemed quite dull and lifeless in comparison to his.

No matter how hard I tried, I couldn’t get the same movement in the side profile that Derek has so clearly perfected. One can only learn so much from a picture, so I decided to order one of his spoons to see where the magic was. It arrived a couple of weeks later, and I was not disappointed. This little cherry spoon is a miniature sculpture, every little detail well-conceived and well-executed. It is, without question, The Best Spoon I’ve Ever Seen.

Let me lay out my argument. First, consider the top profile – very fluid and shapely, though it’s also the easiest part to get right. What’s not as easy to get right is the depth and shape of the bowl, but he nails this as well. It’s quite shallow but very comfortable, like a lollipop. I like how the heartwood/sapwood contrast splits the spoon in half – a very nicely chosen material.

The side profile is really what makes this spoon stand out. It is so active and organic – almost as if the neck is under tension. The lower curve nicely mimics the upper curve, though less dramatically. And look how cleanly the neck was shaved – since the grain reverses direction here, this is the toughest part of a spoon to cut cleanly. There isn’t a single raised fiber here, and this is completely knife-cut. No scraping or sanding.

The curve of the back is lovely and lightly faceted. The curve of the handle mimics the curve of the bowl, which makes it very comfortable to hold. It also makes the opposite ends of the spoon seem cohesive. I’m not sure how to say what I’m thinking, other than both ends “match” one another – they are variations on one shape. I’ve always used strong facets and straight lines on the back of my handles, but I realize now that it is just not as comfortable. I’m going to start trying some curved backs now.

There is even a little bit of flourish at the tip of the spoon – a bit of chip-carving just adds some individuality. Also notice the very subtle chamfers on the sides. Those flow uninterrupted around the whole spoon.

One final parting shot: compare Derek’s spoon, at top, to one of my spoons, below. I was very happy with my spoon until I looked at it alongside a superior example!

If I had but one criticism about this spoon, I would say that the bowl is just a tad wide. It’s fine for me, but I have a big mouth. I doubt the spoon would be as comfortable for my wife. That hasn’t been a problem, because I’m greedy and I’ve been keeping the spoon at my office to eat my oatmeal every morning. My family is stuck with my good-but-just-not-as-good eating spoons, I’m afraid.

I’m not connected with Derek in any way, other than as a satisfied customer. If you’d like to own one of these, you’ll have to get in touch with him on Facebook or on Instagram – I don’t believe he has a website (at least not that I could find).

 

The Charcoal Burner’s Story

Fascinating film of English swill basketmaker Owen Jones making charcoal:

He has a website that you can visit here. Very cool, and very traditional, work.

For those of you who don’t know (and I’m assuming that’s most of you), oak “swills” are long, thin, pliant lengths of oak that are split from small trees. The technique was imported to the U.S. from Great Britain. Native Americans were were certainly familiar with the utility of split white oak as well, and the extant American style is probably a mixture of the two traditions (apologies for that ambiguous statement; I’m not a scholar here).

In any case, the process was widely used in pre-industrial America, but it’s especially linked to the Appalachians, where it survived to much more recent times than in other parts of the country (here’s a great book on that topic). In the U.S., we typically refer to the material as “splints” rather than swills. Baskets are the most common and familiar use for white oak splints, but they were widely used as seating material for ladderback chairs as well. I’ve woven a few chairs from the material, myself.

I like that Owen got into the charcoal-making to find a use for his waste wood. That’s a common problem we run unto as woodworkers. It’s incredible how much wood has to be removed to get down to the piece that actually goes into your furniture (or basket, in this case). Personally, I’ve found that my hardwood scraps make an awesome substitute for store-bought charcoal for grilling. I haven’t paid for briquettes in at least five years. This video has me itching to make some proper charcoal, though (albeit on a smaller scale). Grilling with wood scraps does have its shortcomings. Hope you enjoy the video as much as I did!