The Influential Atelier
Saturday 9th December 2023
Ateliers taught and trained artists from the renaissance right through to the 19th century, when they were superseded by colleges and universities.
Ateliers brought together students at different stages of their artistic development (apprentices, journeymen and fee-paying students) into one community, all under a master. They were communities of learning, where skills were passed from master-to-student, who then went on to become masters themselves.
To learn to make furniture, I studied at Rowden Atelier.
Rowden was a modern incarnation of this ancient system of artist-training. When I was there it was the teaching workshop of the late cabinetmaker and artist David Savage.
I spent three years there in total. Learning, making, working.
I studied David’s furniture, his design process, and the cabinetmaking skill that were taught in the workshop.
I spoke to him about it relentlessly, knocking on his door every week to ask questions and seek advice. I wanted to soak up anything he could give me about the craft.
After I had gained a good grasp on the basics, I spent about a year working for David - making his pieces and featuring heavily in a book he wrote about his craft - The Intelligent Hand.
So I shouldn’t have been that surprised when I showed a few chair designs to someone and they responded with, “Oh, very nice. Very David Savage.”
Hmm…
I was a bit upset. Mostly with myself.
“Why can’t I come up with anything original?”
But thinking about it, I should have taken it as a compliment.
I went to Rowden because I wanted to learn from David.
I knew of no other maker whose work had the feel, the flow and the dance of David’s work.
I knew of no other maker whose work pushed the boundaries of what was possible in wood like David’s did.
The comment about my chairs was made by someone with no knowledge of my background. Which meant that I had done a good job in my learning. It meant that I had captured something of the spirit of Savage in my work.
Precisely what I had intended to do.
Every artist is looking to develop their own unique voice, to put their own personal creativity into the world. Of course, I am no different. But I need to remind myself that a study of past-masters was absolutely key in the development of many, many great artists.
Soaking everything up in the Atelier was how you learned your craft.
Of course, David was not my only inspiration. There are other makers whose work has had a deep impact on me. James Krenov, George Nakashima, Sam Maloof and Alan Peters are top of the list. Makers who had their own style, their own relationship with the wood, and their own reasons for making.
So if you train in an atelier and start your journey influenced by another’s style, where does that leave you in your work?
It leaves you in a place where you need to be honest about the profound influence that these great makers have had on you. And in a place where you need to consciously acknowledge their influence on your work, rather than try and hide it or be disappointed when it shows up.
So if you look at my work and see in the shaping a note of the Savage, you are probably right. I studied with the man for almost three years. Likewise, if you see that a piece I make has a hint of Nakashima, a sprinkle of Krenov, or a passing resemblance to a Maloof, I ask for you to recognise where that comes from: an unintentional mimicking of the work that has shaped me.
An echo of the symphony written by those past masters.
Perhaps one day I’ll add my own unique note.
And if you make, then perhaps you will add yours.
Until next time,
Stay sharp friends
~sh