I have weekly conversations with a group of craftspeople who make their living through craft. It is striking how different the approaches toward business and making can be. The past couple weeks, I've been trying to talk through some feelings of incongruity I’ve had with my work for several months. I often get a sense that my need to earn an income and my ideas about ‘what’ and ‘why’ I make certain objects are at odds. Sometimes it all flows, while other times there is friction. Things don’t add up. As I’ve talked about these ideas, they get pushed and prodded by the group for more clarity. The back and forth, trying to make things more coherent inevitably makes the issue more clear to myself.
Nice thoughts here. I've thought about this a lot, nice to see it put on "paper". I've seen and experienced the changes in ones position in woo when the physical body suffers. It was once easy to get snooty about what powered my tools (muscles, electricity or gas) and was forced to open my mind when felt some aches pains and injury. It forced me to be more open minded for sure.
Reminds me of a quote in the Buddhist philosophy, woo meets pragmatic needs in a partnership: "Before enlightenment; chop wood, carry water. After enlightenment; chop wood, carry water.”
John O'Donohue, the Irish poet philosopher, says that the universe is too big for us so we search for and collect various internal and external structures that keep us from having to stand on the surface of the earth and face the raw cosmos (in my words—his are much more elegant). He's not saying that there's anything wrong with this dependence on structure, at least not as an initial response to being in the world—it's simply how things are.
As we all know (and feel), craft was historically contextualized in community relationships, often in one's village or maybe even in a guild (not to mention making essential goods for one's own family.) The life and work of an artisan was held as a living part of his or her culture at a scale that was relatable.
Today, a maker might be blessed to pick up a craft from one of her parents or grandparents but most of us have had to stake a claim just to pick up the practice. For many of us, the result is that we start out with the disadvantage of self-consciousness.
Again, I'm not saying this is necessarily bad. It's simply how things are. A young man makes a chair and stands on his new wobbly legs and says to the universe, "I'm a woodworker!"
But, even if self-consciousness (and a little defiance) is how we must start, I don't think it's a very free way to continue long-term. As different traditions tell us, we build walls when we're young in order define ourselves but, finding ourselves walled in and without much of a view, we eventually have to start the work of bringing them down.
The challenge is even harder today with so many voices encouraging us to develop a "personal brand," a carefully defined outward representation that we strive to maintain. I think this is largely what you're addressing here. As you say, "What if we throw this identity based authenticity out the window?"
You also write:
"I get the sense that a lot of us tell ourselves that’s all the same craftsperson operating from a singular craft perspective, a singular place on the Spectrum of Woo. And it’s just not true."
What if we said that the aim was not to be flexible on this spectrum but to eventually leave it? Being flexible is definitely further along than being stuck but is it the end? I know that I present myself differently in different contexts but what I'd like is to not feel that I had to present myself at all, especially to myself. I realize that I'm taking the conversation into the realm of soul work but it seems to me that's what you're getting at as well: know thyself.
Instead of applying ourselves to our crafts, I wonder if we could apply our crafts to ourselves. What if I used my work as a medium not to define myself but instead to eventually recognize myself?
Love this piece Dawson. You articulated the spectrum in a wonderful playful way. I’ve also noticed these various ‘positions’ some seem to stake out and attempt to ‘defend’ or ‘advance’ as a competition. You may be correct that this has partly to do with attempts to settle into an equilibrium of ‘authenticity’ the ‘feels right’. i.e. we all have various ‘truths’ or ‘ideals’ that we hold consciously or subconsciously - and mostly acquired through exposure & training by our family, educators, and culture.
I think the inevitable conflict that arises for those holding aesthetic, philosophical, political, and ‘spiritual’ ideals - is the pragmatic struggle to ‘make a living’. It is much easier for crafters & makers like myself who are NOT dependent on craft to support ourself & family to stake out & hold idealistic positions along the spectrum of woo - than it is for those who must make pragmatic choices to grapple with market & production realities - price contraints, production constraints, bodily constraints, etc.
In the ‘green woodworking’ and ‘handcraft’ space - this is particularly true given the inherent production limitations necesitating higher prices for the time/piece invested. Which then requires attempts to justify these higher prices to ‘the market’ - by appeals to shared aesthetic, philosophical, political, spiritual - ideals. Selling the ‘story’ not just ‘the product’. I think this sometimes is an attempt to justify what otherwise can start to feel like very ‘elitist’ positions - selling handcrafted ‘wares’ to ‘rich’ people who can afford it so that I can eke out a ‘living’.
I’ve seen some crafters who start to get very cynical about this and resentful when ‘the market’ is unwilling to pay for their ‘story’. It is I believe to be one of the central ‘professional craft’ dilemmas. Each must grapple with it. Some do so and find a place (niche) they can live with - some do not and rail against how unfair it all is.
As a full time craftsman I relate to all of this very much.
As I reflect on these types of thoughts and how it relates to my personal mental/spiritual health around my work recently I’ve begun to construct it in a narrative of seasons.
A time to make money, a time to scratch my creative itch. For myself this flows on a monthly cycle of hammer down then drop everything and make something to get an inspiration out of my system.
In a perfect world the furniture commissions I sell will also be pieces that bring me energy. But the truth is many times the pragmatic details crowd it out.
As a pragmatic creative I find myself in a constant tension between reason and meaning. And that may just be an ok place to rest, in the tension.
As someone who does a lot of different crafts both professionally and as a hobbyist that idea of code switching really resonates with me. It reminds me of one year when I was selling a lot of knotwork, but I was really just getting into a deep dive on knitting fishermens' sweaters. I had to force myself to put down the knitting and make some pieces that would sell.
Hi Dawson, I really appreciated reading this post and had a good laugh with the spectrum of woo! Your comments connected with me in several ways, as a person exploring craft; as someone trying to live with integrity; and as someone who appreciates the strength of language as an enhancement to one’s art/craft. Thanks for such a thoughtful post!
Nice thoughts here. I've thought about this a lot, nice to see it put on "paper". I've seen and experienced the changes in ones position in woo when the physical body suffers. It was once easy to get snooty about what powered my tools (muscles, electricity or gas) and was forced to open my mind when felt some aches pains and injury. It forced me to be more open minded for sure.
Reminds me of a quote in the Buddhist philosophy, woo meets pragmatic needs in a partnership: "Before enlightenment; chop wood, carry water. After enlightenment; chop wood, carry water.”
Cheers!
John O'Donohue, the Irish poet philosopher, says that the universe is too big for us so we search for and collect various internal and external structures that keep us from having to stand on the surface of the earth and face the raw cosmos (in my words—his are much more elegant). He's not saying that there's anything wrong with this dependence on structure, at least not as an initial response to being in the world—it's simply how things are.
As we all know (and feel), craft was historically contextualized in community relationships, often in one's village or maybe even in a guild (not to mention making essential goods for one's own family.) The life and work of an artisan was held as a living part of his or her culture at a scale that was relatable.
Today, a maker might be blessed to pick up a craft from one of her parents or grandparents but most of us have had to stake a claim just to pick up the practice. For many of us, the result is that we start out with the disadvantage of self-consciousness.
Again, I'm not saying this is necessarily bad. It's simply how things are. A young man makes a chair and stands on his new wobbly legs and says to the universe, "I'm a woodworker!"
But, even if self-consciousness (and a little defiance) is how we must start, I don't think it's a very free way to continue long-term. As different traditions tell us, we build walls when we're young in order define ourselves but, finding ourselves walled in and without much of a view, we eventually have to start the work of bringing them down.
The challenge is even harder today with so many voices encouraging us to develop a "personal brand," a carefully defined outward representation that we strive to maintain. I think this is largely what you're addressing here. As you say, "What if we throw this identity based authenticity out the window?"
You also write:
"I get the sense that a lot of us tell ourselves that’s all the same craftsperson operating from a singular craft perspective, a singular place on the Spectrum of Woo. And it’s just not true."
What if we said that the aim was not to be flexible on this spectrum but to eventually leave it? Being flexible is definitely further along than being stuck but is it the end? I know that I present myself differently in different contexts but what I'd like is to not feel that I had to present myself at all, especially to myself. I realize that I'm taking the conversation into the realm of soul work but it seems to me that's what you're getting at as well: know thyself.
Instead of applying ourselves to our crafts, I wonder if we could apply our crafts to ourselves. What if I used my work as a medium not to define myself but instead to eventually recognize myself?
Love this piece Dawson. You articulated the spectrum in a wonderful playful way. I’ve also noticed these various ‘positions’ some seem to stake out and attempt to ‘defend’ or ‘advance’ as a competition. You may be correct that this has partly to do with attempts to settle into an equilibrium of ‘authenticity’ the ‘feels right’. i.e. we all have various ‘truths’ or ‘ideals’ that we hold consciously or subconsciously - and mostly acquired through exposure & training by our family, educators, and culture.
I think the inevitable conflict that arises for those holding aesthetic, philosophical, political, and ‘spiritual’ ideals - is the pragmatic struggle to ‘make a living’. It is much easier for crafters & makers like myself who are NOT dependent on craft to support ourself & family to stake out & hold idealistic positions along the spectrum of woo - than it is for those who must make pragmatic choices to grapple with market & production realities - price contraints, production constraints, bodily constraints, etc.
In the ‘green woodworking’ and ‘handcraft’ space - this is particularly true given the inherent production limitations necesitating higher prices for the time/piece invested. Which then requires attempts to justify these higher prices to ‘the market’ - by appeals to shared aesthetic, philosophical, political, spiritual - ideals. Selling the ‘story’ not just ‘the product’. I think this sometimes is an attempt to justify what otherwise can start to feel like very ‘elitist’ positions - selling handcrafted ‘wares’ to ‘rich’ people who can afford it so that I can eke out a ‘living’.
I’ve seen some crafters who start to get very cynical about this and resentful when ‘the market’ is unwilling to pay for their ‘story’. It is I believe to be one of the central ‘professional craft’ dilemmas. Each must grapple with it. Some do so and find a place (niche) they can live with - some do not and rail against how unfair it all is.
As a full time craftsman I relate to all of this very much.
As I reflect on these types of thoughts and how it relates to my personal mental/spiritual health around my work recently I’ve begun to construct it in a narrative of seasons.
A time to make money, a time to scratch my creative itch. For myself this flows on a monthly cycle of hammer down then drop everything and make something to get an inspiration out of my system.
In a perfect world the furniture commissions I sell will also be pieces that bring me energy. But the truth is many times the pragmatic details crowd it out.
As a pragmatic creative I find myself in a constant tension between reason and meaning. And that may just be an ok place to rest, in the tension.
As someone who does a lot of different crafts both professionally and as a hobbyist that idea of code switching really resonates with me. It reminds me of one year when I was selling a lot of knotwork, but I was really just getting into a deep dive on knitting fishermens' sweaters. I had to force myself to put down the knitting and make some pieces that would sell.
Hi Dawson, I really appreciated reading this post and had a good laugh with the spectrum of woo! Your comments connected with me in several ways, as a person exploring craft; as someone trying to live with integrity; and as someone who appreciates the strength of language as an enhancement to one’s art/craft. Thanks for such a thoughtful post!