KILLSCROW: one word, pronounced exactly as it reads. This is a Delaware Lenape name passed down from my late grandmother Sharon. We have slowly adopted this name for all the work Darrick and I are building, a collaborative brand still very much in the works. Darrick and I have big dreams for Killscrow, all surrounding the idea of a life together selling items we make, food we grow and space we build in an area with a wilderness. Ley Lines was the original online space for that, but soon everything will be streamlined as Killscrow only. Thank you for all the support! You know who you are.
Thank you Neil Harrison for the logo love!
Full site is currently in maintenance, but coming soon.
From the summer drawing series, I've drawn much inspiration to convert those images larger. At first I considered having prints made for me, and then became very possessive. I decided I wasn't ready to send anything to anyone that I hadn't touched. Instead, I've decided to experiment with different ways of reproduction from the original images I pulled from the series- working as if the original 5"x7"s are my demos/sketches, as I had done little to no sketching on that collection. Each of these is 22"x30", ink on Arches paper.
|Carpenter's Bench. Photo William F. Winter|
From Mother Ann:
Do your work as though had a thousand years to live, and as if you were to die tomorrow
These images and words from
Shaker Furniture: The Craftsmanship of an American Communal Sect
Edwards Deming Andrews and Faith Andrews
|High pine desk used by trustees. Photo William F. Winter|
|Pegs and pulls. Photo William F. Winter|
|Corner of early Shaker schoolroom. Desk, bench and hanging rack. |
Photo William F. Winter
|Personhood, exhibited in 'DUBH - dialogues in black' at the American Irish Historical Society on Fifth Avenue in New York in October/November 2011 and at the Oliver Sears Gallery, Dublin in February/March 2012.|
Last year a lot shifted at CR Fine Woodworking with the appointment of Laura Mays as its new director. On Darrick's end, he feels such overwhelming gratitude for sharing his first two years in the shop with Laura's first two years as director- momentous, life-changing years for both. On my end, I am more closely involved with Laura's partner, CR graduate Rebecca Yaffe and their gorgeous off-spring Thea. After weeks of stalling, I finally realized why I found this post so difficult to articulate. It is due to the deeply rewarding nature of my personal relationship with Yaffe Mays as a family. Although, I find the personal is essentially always a part of the woodworking community sprung from College of the Redwoods. It is what students rely on when they feel a little bananas in the shop and need to commiserate. It is what compels the instructors to open the doors of their homes to entire classes overnight each year. It is what bonds families of students outside of the shop. And it is certainly what makes the work special.
All things personal aside, the creative partnership of Yaffe Mays has recently opened an exciting inaugural group show at San Francisco's (seriously new) New Black Gallery- an impressive 9,000 square foot industrial space in SF's Mission, which appears to be marketed as a retail environment/gallery. The opening in September seems to have been nothing short of a wild success, for the space and for Yaffe Mays. We cannot wait to explore the gallery ourselves and are thrilled at the prospect of such an interesting collaborative space being invested in makers from the CR family.
More on Yaffe Mays:
Laura Mays Interview on Hock Tools Blog: PART I, PART II
Profile Laura Mays/Yaffe Mays at Handful of Salt
*Some images shown are of work "made by one or other of us before we formed the partnership."
|Wholeness, 2012. Photo David Welter|
|Moon Spoon Holly. December 2010.|
|Sligo 1, 2009|
|Sligo2 'The Twins' Irish walnut, oil finish, 2009.|
|Two of ten boxes made for the Of Colour in Craft exhibition. 2002.|
|Stefan 4 Corrugated cardboard. 2010|