Trying to describe Mappa Burl in a single photograph leaves much unseen. Viewed head-on, a crown-like slab first draws attention to its gaps and protrusions. When the same piece is laid at an angle, the thickness of the parts that looked thin and the curves along the edge become visible. Although these pieces share the fact that they come from burl growths in a tree, the dots and lines on their surfaces appear in different places on each piece. Rather than presenting one piece as the representative image, this article records an effort to look at several pieces with different forms, one after another.
The edge comes before the face
The broad face of a slab may appear bright and even. But when the eye moves toward the outer edge, there are many places that recede more deeply than a straight line, along with sections that rise abruptly. On a crown-shaped slab, the divisions at the top are especially distinct. A photograph taken from the side shows that these curves are not merely part of a pattern but the edge of solid wood with actual thickness. When envisioning the form of a piece, it is useful to read the overall contour first rather than enlarging only the areas with the strongest figure.
A different rhythm in a broad slice
Moving to a round slice reveals a broad, rounded face instead of the sharp lines of a small sculptural piece. It is not a perfect circle. Along the edge, sections that extend outward alternate with sections that recede inward. Seen from above, irregular marks are scattered across the broad face; from a low angle, the side supporting that face comes into view. The two photographs show the same material from different heights. Because differences in color are also affected by the lighting and display, it is difficult to determine the actual color from a single scene.
The flow of a long, low slab
A long, extended slab calls for a different direction of viewing when reading its form. When stood upright, the waves along its upper edge become clear. Placing a broad, flat slab beside it makes the difference in surface rhythm between the two pieces more apparent. In the final square slab, small curved lines flow within a relatively straight outer contour. More than the shared name Mappa Burl, what remains first is the line created by each distinct piece of solid wood.
When choosing material from photographs, it is helpful to examine the overall form, the thickness of the side, and the surface figure in that order. A single close-up makes it difficult to understand the contour that will enter the finished work. Looking at photographs from several angles together allows the irregularity of each piece to be assessed more accurately.
Photographs: Woodway product photography. The actual color may appear different depending on the shooting conditions and the display.
