Timothy Coleman

I am fascinated with patterns. I am always experimenting with different surface treatments as a way to incorporate patterns into my work. I frequently use marquetry, parquetry, thick veneer tiles, low relief carving and embossing to create richly textured and patterned surfaces. I also love working with cabinets, and they have always been a favorite way for me to feature patterns. Cabinets give me broad surfaces to play with and are the perfect medium for exploring the interplay between patterns and sculptural forms.

Early on in my training with the world renowned cabinetmaker, James Krenov, I learned a creative approach to furniture making that relies heavily on intuition and an intimate knowledge of your material. It is a process that Krenov referred to as “composing,” and it is a method that appealed to me from the start. I used the composing method for this cabinet and the inspiration for the pattern work came from the wood itself.

This stunning Japanese ash is a wood that I had been sitting on for years, waiting for the right idea to emerge for its use. The wildly swirling grain and golden tone was so intense that it seemed that it could overpower the kind of refined furniture pieces that I am drawn to. I had sawn the wood into thin slices of veneer, and every once in a while I would pull it out and try out different pattern combinations. It wasn’t until I began to play with patterns in the darker imbuya on top of the ash that I knew I was on to something. I kept the overall form of the piece somewhat simple to emphasize the broad, graphic lines of the framing parts. In this way I was able to keep the ash contained, and allow it to speak without shouting. The modest scale of the piece invites the viewer to experience its vibrancy without being overwhelmed.

www.timothycoleman.com