Posted on

Winter Studio Visit: Tom Shields

 

tomshieldspenland5

The chair. A form for one. A group of chairs: a human gathering, a table, a home. Gertrude Stein put it this way: Is there not much more joy in a table and more chairs and very likely roundness and a place to put them.

 

Tom Shields has been messing with wooden chairs—and our domestic contexts for them—for a while now. He collects, breaks, and alters–reworking flat-backs, ladder-backs, whatever chairs he can find by responding to and then rebuilding them into each other. (And away from each other, too.) Even the bank of discarded chairs that Tom keeps as raw material in his Penland studio (below) feels kind of irreverent:

 
 

tomshieldspenland3

 
 

It’s not just chairs: irreverence fuels all of Tom’s sculptural “furniture” work. Take this recent commission, made from a group of original Heywood-Wakefield tables:

 
 

tomshieldspenland1

 
 

tomshieldspenland4

 

“Blasphemer,” says Tom, grinning as he tells us what one studio visitor called him after seeing the commission. If you’re a mid-century modern junkie, Tom might just be your nemesis. But looking closely, the tables retain their modern context. Form is interrupted and not shattered: the “futuristic” lines and planes are made fluid by Tom’s choices. It’s almost as if the atoms in the birch went haywire and some happy blasphemer came along and set the forms into each other, responding to the tables as potential parts of a larger functional sculpture.

 

In the irreverence in Tom Shields’s work, reverence. To put a finer point on it: in irreverence, reverent play. Gertrude Stein, another blasphemer, would’ve raised her glass. She said in 1935: A very important thing is not to make up your mind that you are any one thing.

 

Photographs by Robin Dreyer; writing by Elaine Bleakney

 
 

Posted on

Make Do with What You Have, Take What You Can Get: Woodworking with Tom Shields

 

I don’t draw something and then go find a pile of wood and build it.
I find the pile of wood, respond to that pile of wood,
and then make something based on what’s there
.”
Tom Shields

 

Found wood and one’s attention to it as inspiration for design will be at the core of Penland resident artist Tom Shields’s spring woodworking workshop. “Patinas, nail holes, rot in an old piece of wood–all of these can be springboards into what gets made,” says Tom.

 

Tom Shields in the studio
Tom Shields in the studio

Along with covering traditional woodworking techniques, the eight-week workshop will veer to embrace the nontraditional. Conversations about idea and content will be generated by activity in the workshop. For example, the first project: Shields’s students will all be asked to bring a loved object with them to Penland. Then, they will create a cabinet for the object. The function and design of the cabinet will be up to the maker: would you build something to hide, display, or protect your object?

 

 

Tom Shields, Same on the Inside, railroad tie, cherry, 11 x 8 x 38 inches
Tom Shields, Same on the Inside, railroad tie,
cherry, 11 x 8 x 38 inches

Tom Shields – Make Do with What You Have, Take What You Can Get

March 9-May 2, 2014

In the wood studio

Want to learn woodworking while giving new life to discarded wood? We’ll spend time learning where to find recycled wood: the dump, junk stores, dumpsters, the woods. Then we’ll make sculptural, functional, and furniture pieces from any kind of wood object, applying traditional woodworking techniques and joinery to nontraditional materials. We’ll also use some new lumber to fabricate elements as needed. Both hand and power tools will be used as we incorporate woodworking and trash into the same vocabulary. The workshop will also cover sharpening, the proper use of tools, and safety. All levels.

 

To find out more and register for this workshop click here.
Spring scholarship deadline is November 29.
Please note: applications need to be at Penland by this date to be considered for scholarship. Overnight service may not deliver to Penland’s campus on time, please plan accordingly.

 

Making something with what’s available in the world–and wholly rejecting the capitalist enterprise that tries to commodify it–was intrinsic to the punk movement of the 1970s and 80s and to Tom Shields’s own emergence in craft. Punk’s restless creative ethos is part of his philosophy of teaching today–with an emphasis on an open invitation to anyone to take and make, dispelling the cliché of “punk” as a closed zone of angst or aggression.

Tom Shields’s students will take their own DIY impulse into time and materials, while also picking up some incomparable experiences. Timber framer Raivo Vihman will be the studio assistant–he’ll be demonstrating large-scale timber framing and joinery. Annie Evelyn will also visit to demonstrate techniques in upholstery. Bob Biddlestone will cover router jigs, fixtures, and talk about applying woodworking techniques to other materials.

 

“I definitely like to teach people how to do just about everything with as little as possible. If you have a chisel, a block plane, a hand drill, and a Japanese saw, you can build just about anything.”

 

 

Tom Shields is a resident artist at Penland School of Crafts. He has taught previously at Penland and the University of Massachusetts-Dartmouth. His exhibitions include Blue Spiral 1 (NC) and the North Carolina Museum of Art. His work is part of collections at Decordova Museum (MA), Gregg Museum (NC), University of Arkansas, and the North Carolina Museum of Art, among others.