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The Thousand Skills of a Furniture Maker
| Article
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16117 |
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Section : |
THE ARTS
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| Issue
Date : |
6 / 1989 |
2,605 Words |
| Author
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Karen S. Chambers
Karen S. Chambers is a craft writer, critic, and curator
currently based in New York. |
At 84, woodworker George Nakashima can look back on his life and say, "I guess, in a way, it doesn't make any sense." After all, how does an architect become a furniture maker? How does a world traveler settle down in rural Pennsylvania? How does a craftsman design furniture that combines early American and Japanese sensibilities? How does a production shop turn out furniture highly prized enough to become the subject of a major exhibition at the American Craft Museum, the flagship institution of the American craft movement?
Trained as an architect with degrees from prestigious schools here and abroad, Nakashima practiced his profession in the 1930s and '40s in New York, Tokyo, Pondicherry, India, and Seattle before deciding to become a woodworker, his preferred "title." He has lived on the Left Bank in Paris, in his ancestral home outside Tokyo, in an ashram in India, and in an internment camp in the desert of Idaho during the Second World War before settling down outside the quaint, artistic, and now touristic, community of New Hope, Pennsylvania.
Nakashima utilizes the traditional tools and methods of his Japanese forebears but does not disdain power machinery. His work has an oriental sensibility but it also alludes to early American furniture and shares the simplicity of Shaker work. Nakashima's writings on wood and craft are frequently poetic ("There must be a union between the spirit in wood and the spirit in man"), but he has a hardheaded businessman's approach to his work ("Craft, small production, products with personal responsibility, seemed exploitable"). He says, "I don't think craft has to be great art," yet his works, while supremely functional, are also sculptural. He protests that he is a simple man but clearly is
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