Charles Shackleton, Furniture Maker (continued)
We have been doing our work for about twenty five years now and it still seems as important to us as ever.
We love so many things about life. There are also hard moments, great losses and long trials. Somehow the reality of our being able to express ourselves through something very tangible and functional, keeps us in touch and gives us hope. It is also something that we can give, with love, which has in its heart a secret, simple, and powerful message.

Without seeming to be overly analytical or intellectual, we have tried to understand the essence of what we do. If we can understand that, perhaps we can create a better message.

Our work is our art and our art is an expression of ourselves. Our mind, or the designs, our body, or the techniques and materials, and our spirit, or soul, are the reflections of us in these inanimate objects. When seeking great works of art, it is the soul that is seen to be the most important and the most difficult to describe. There is a tremendous wealth of good design, incredible materials and superb technique to be found today. Factories around the world are able to produce and reproduce designs economically and in quantity.

What they cannot reproduce is this "spirit" or "soul." which so many people are looking for. This is the source of true beauty and the part that gives an object value and human meaning in a big, insecure, technical world.

People acquire our work because it gives them a "feeling." Our work has a message about loving, treasuring and valuing life. We don't know exactly why it has that feeling, but we do know that our work is a direct expression of our community of craftspeople.

There are two qualities that we all have and we look for in people who want to join our group: People who love people and people who love to make things.

There are three specific ideas that we use whilst making things in order to communicate our message as best as possible:

1) A piece is made by a single craftsperson from start
to finish.

It is then signed and dated by that person. This means that one person takes responsibility for the beauty of the piece all the way through. Traditionally, a furniture workshop is divided into machining, assembly and finishing departments. With us, we all do everything, and there is no status attached to one particular area. It also means that the final piece is a true representation of the quality standards of that person.

2) We use our hands as much as possible during the making process.

The vagaries of the traditional hand-controlled tools express not only the skill of the craftsperson but also their uncertainties, insecurities and imperfections. We feel that the handwork gives our work a human quality that is both warm and alive. Very often this handwork is best seen when we decorate the piece. In the carved curls, the hand-planed table tops, the hand-turned finials, or the faceted beadwork.

3) The atmosphere in which we work.

We work in a beautiful, light-filled, wooden floored, post and beam woolen mill on the Ottaquechee River in Bridgewater, Vermont, U.S.A.. The way that we respect and communicate with each other while we are creating is of utmost importance to us. We have fun and this is reflected in our work.


THE DESIGNS

Most of the designs are contemporary interpretations of classic models, created by myself, with much input from people around me, including my family, our company and clients. I have chosen the classic style, because I see it as a universal language, understood by the most number of people. It is also most compatible with other styles.


THE MATERIALS AND TECHNIQUES

For most of our work we use Native American hardwoods that are easy to grow and readily available. Eighty percent of what we use is Black Cherry or Prunus serotina, harvested in a certified sustainable manner, in North West Pennsylvania. It is not only beautiful to look at, but is durable, carves well, and ages to look better over time. We also use black walnut, red oak, ash and maple amongst others.

The techniques and tools we use tend to be traditional and time-honored. We always consider the technique that will give a result that is going to endure the rigors of hard use and time. We also use tools, particularly when dealing with areas that are going to show, that will best demonstrate the skill of the craftsperson’s hand.

We generally use a Tung oil or Linseed oil-based finish followed by wax to give a low sheen. We feel that this gives a sensuality to the piece, both visually and to touch, that connects the viewer to the artist and to the materials in the most direct and freshest manner possible.


What is it that puts life into an inanimate object? For is that not what man is?
May 23, 2004

Click to read Charles Shackleton’s Biography