Timothy ‘Bjorn’ Jones is best know for his wooden sculptures, portraying pre-Christian folk tales, legends and ancient religion.

His work takes aim at monotheistic and colonialist world-views which have been uncritically assimilated.

“I work with traditional hand tools for the lessons they contain.  Each mistake is my own and I embrace that.

When carving, there is no going back to correct a slip or blunder. Once the wood is gone, it cannot be put back. Wood is honest like that.  The mistake cannot be undone, but it can be learned from.  History is much the same. 

 

This is why I aim with every piece to breathe life into an ancient culture, so that its’ stories and lessons will continue to live on - that we can not only celebrate its’ successes, but also learn from its’ failures."

Frequently asked questions

You don't use power tools? Are you crazy?!


Yeah, probably!
Honestly though, I get this question a lot. Answering it is always hard because there's so many different reasons.

  1. Traditional carving is a dying art-form. I want to keep it alive, and to pass the skill on.
  2. Hand-tools contain lessons. Not just lessons about wood, but lessons about yourself (first and foremost: patience).
  3. There is more control. There are no accidents I can blame on my tools - after all, the chisels don't move on their own. Every mistake is 100% my own fault and this nurtures growth. There are some shapes that just can't be done with power tools (or, at least, that I haven't seen yet).
  4. You have to approach the tree with respect. You have to work WITH the tree. Literally. No Dremel-bits or rotary tools to cut against the grain here. You have to carve within the confines of nature.
  5. Connection with the past. Everyone, of every culture, has some heritage in their DNA of working with wood. At some point in the past, one of your ancestors was shaping wood with either metal, stone or bone. I find comfort in connecting with this. Holding a chisel feels natural to the body. It feels real.
  6. The tree gets a voice, too. All this time, care, work and connection put into the wood results in a finished piece that not only shows my style as the Carver, but working with the wood allows the tree to dictate how the piece will look. (You'd be surprised how much & to what extent this is the case).




The masks are neat, how long does one take?


For actual hours spent physically carving & sanding? It really depends on the piece and the size. A single large piece can take upwards of 300 hours. The pictures below show the before & after on a smaller piece, ODIN, and a glimpse of the transformation that happens before the sanding even begins...




Why Wood?


I don't really know why. Not in a way I can expain, at least. I feel a connection to wood that I don't feel when working with other mediums. I feeling honoured to work with it...
Perhaps it's because the tree is a living thing, with it's own life and energy.




How do I learn to carve?


It's actually pretty easy to get started!
When you break it down, woodcarving is just removing the wood that's not part of your final vision.
I think of Woodcarving in FOUR main steps, no matter what you plan to create...

  1. Thinking Subtractively.
  2. Knowing your tools.
  3. Understanding wood.
  4. Knowing your 'model' or subject.
Seems simple enough, and it is to get started! But mastering all four can easily take a lifetime.
  1. THINKING SUBTRACTIVELY

    Woodcarving is a subtractive art (in contrast to mediums like pottery, which is often additive). This means, in laymans terms, that if you want one part of your carving to stick out 2", then you have to remove or lower 2" of wood everywhere else on your piece.
    It seems obvious, and it is in theory, but learning to think and design shapes (and then apply it) in reverse can take a while to wrap your head around.
    It also means that the more depth there is in your project, the larger piece of wood you need to start with, and the (exponentially) more work you have cut out for yourself.
    I'll be honest, wood is not the best material to learn subtractive thinking with. It's tough to work with, and is not forgiving in the least.

    Wax is an easy option to practice. There's no grain. It won't split. Your tools won't dull. It won't dry out and crack. It cuts very easily and is quite light to carry. Plus you can melt it down, or even practice by making custom candles as gifts.



  2. KNOW YOUR TOOLS

    And yes, this means sharpening them too.
    The right tools, when cared for, can last more than a lifetime of use. The wrong tools ...well, they won't ever get used.
    Selecting which tools you need is tricky, ESPECIALLY if you haven't done much hands-on carving yet.

    The tools you have will dictate (mostly) what types of things you can carve and, in the same vein, what you want to carve will dictate what type of tools you'll want.

    Identify what type of projects you want to carve. The umbrella terms often used to separate/identify both the tools and the projects of woodcarving are...

    a) Chip Carving
    b) Relief Carving
    c) Carving in the Round (or sculpture) <--- What I do.

    Searching each of the three on a platform like Pinterest will show some incredible artwork and will help you identify which one you'd like to persue the most.
    Once you figure this out, hit up YouTube! Watch some artists at work, some timelapses. Pay attention to the vastly different (or, more importantly, similar) tools people use.
    Notice the different processes entailed too! Some people use chainsaws. Some use dremels. Some use chisels. Some use lathes (woodturners). Some start a piece on an industrial bandsaw.
    Pay attention to which process actually looks enjoyable to you, but also, and I cannot stress this enough, which ones you can actually facilitate!
    Look at the setup these different artists have and pay attention to the mess created, the equipment needed, the noise produced, the danger involved.
    - Live in an apartment building in New York? Chainsaw carving might not be the best fit.
    - Carving indoors with carpeted floors? The fine dust created by dremels might be a problem unless you rig up some sort of ventilation.
    - How much space can you dedicate to equipment / working?

    Give these factors a thought and give your budget a lookthrough. Then you're in a good place to look at tools (and know which tools to look for).
    Stay away from sets of tools unless you need every one of them and READ REVIEWS. It sounds cliche, but stick with either a trusted/established company or go with products endorsed by a carver who knows what their doing and that you trust. Stay away from cheap garbage.
    Remember: these tools are often dangerous. Quality, trusted tools will not only make your life easier while carving, sharpening and maintaining them. They will also keep you safer from accidents.

    I am by no means the authority on this, but I find Flexcut has fantastic detail products for chip carcing and relief carving (whittling, too). They strike a good balance of maintaining affordability without sacrificing the quality of metal.

  3. UNDERSTANDING WOOD

    You could easily dedicate your whole life to this. Infact, some jobs do!
    It's important to gain even an basic understanding of how wood, as a tree, grows and lives. This will help in understanding and tackling issues such as cracking, mold/rot, drying wood (if you carve green, which I strongly recommend). It will aid in a ton of other things such as how to go about sealing a log from drying, how spalting occures, and how grain functions.
    The absolute basics can be found online, but if you want to gain a more indepth understanding about wood itself, check out: "Understanding Wood: A Craftsman's Guide to Wood Technology" by R. Bruce Hoadley.

  4. KNOW YOUR SUBJECT

    The sky is the limit on this one, but it's oh so important.
    If you want to carve a face, you need to know what a face is shaped like.
    It sounds easy, but it's not. We see faces around us every day, but we only pay attention to certain features and expressions.
    Everything connects and flows. Everything varies in depth and spacing. Everything is symetrical ...or not.
    I'd invite everyone to take what they have at home, maybe some clay, plastecine or playdoh, and try to shape an annatomically face. Chances are, it will look off. Really off.
    Unless you're a plastic surgeon, artist or some such that has already studied the face, this is completely normal! We stare at faces around us 24/7, and we watch features to exhibit emotion and feeling, so of course we pick up immedietely on when a face looks "just off". Our brain notices it's off, but we don't think about what makes it seem off. Not really.
    I use faces as an example because it's what I love to carve. But I also think it's a great example for challenging it can be to accurately portray something in wood when doing sculpture or "carving in the round". Drawing a face with a pencil in 2D is hard enough, but trying to portay all angles and depths in 3D is another challenge altogether.

    So start with something a bit more simple! Or keep the face more 2D / flat to start as you learn!
    And pay attention to the depth in whatever subject you plan to carve!




Why "Bjorn" ?


There was no established history of mask carving in New Brunswick until about 1980 when an indigenous woodcarver, Ned Bear, started his own style and dedicated his life to it. He was an incredible artist and a master carver. I did not learn directly from Ned, but rather from past students of his.
Life is often cut short and Ned Bear is no longer with us (he started his next journey on December 24, 2019). I am honoured to have been a part of Ned's final exhibition before his passing. Read more about Ned HERE.
BJORN ("Bear" in Swedish, Icelandic, Dutch, German, etc) was originally a nickname, given my bear-like tendencies and also interest in pre-Christian Germanic culture.
I have decided to incorporate it more formally into my practice as a way of paying homage to Ned Bear and acknowledging his 'lineage of carving' in my own way.




Do you ever paint your work?


No.

Wood has an incredible, natural beauty. I go to great efforts to reveal this beauty, often investing dozens upon dozes of hours hand-sanding as high as 7,000 grit. It would make little sense to invest this amount time and work only to hide it with paint.
Woodcarving (and sanding) is a lengthy process. Using clay, papier-mâché or even plaster would be a much faster means of having a shaped object to paint on. Check out the Sanding FAQ to see the natural beauty hiden in the trees' grain.




Why do you sand so much?


To better reveal the natural beauty in the wood.

Sanding a piece is much like a screen's resolution. At 720p resolution, you cannot see the individual pixels that make up the images on your screen, but you can most definitely see the improvement in quality if you were to watch the same video in 1080p (and even moreso in 4k). Sandpaper works much the same way by creating smaller and smaller scratches in the surface of the wood, making the "full quality" of the wood more and more visible with each grit. Even once the scratches can no longer be individually seen, the raised fibres will still distort the true picture of the wood, hiding much of the colour and grain patters.
Most woodworkers will sand until the scratches are not easily seen by the human eye (often in the realm of 220-400 grit). The wood looks nice at this level and splinters will be avoided if handled. This is a normal and completely acceptable level. I will sand my carvings up to 7,000 grit (no, that is not a typo). Yes, this is pretty extreme - I have never witnessed anyone taking sanding up to this level on wood. I can only find sandpaper this fine through specialty automotive shops. I do this intentionally - by presenting the natural beauty of wood in a way unseen before, we can reframe how we think of trees in our society. They are more than just a resource for timber or fuel for our fires. They are living beings and are needed to sustain not only human life but all ecosystems on the planet. We need to reconsider our relationship with tress if we hope to continue as a species. An example of 80 grit, 220 grit and 7,000 grit for comparison. This is without any finish or oil on the wood yet.




Do you teach?


Yes I do! Get in touch through the Contact Form and I will let you know when a class is coming up!





Copyright - Timothy Bjorn Jones, 2020

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