Forest Heart Houten Plaatje by Mohamadali Vadood

Forest Heart Houten Plaatje by Mohamadali Vadood is a highly esteemed winner of the very prestigious 2020 A' Design Award in IJzer in Beeldende Kunst en Kunstinstallatie Ontwerp Competition Category.

IJzerBeeldende Kunst· 2020

Forest Heart Houten Plaatje

by Mohamadali Vadood

Client: Gerdayesh

A' Design Award in IJzer Winner in Beeldende Kunst Category

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Verified Award Winner
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Colors

The Design

About Forest Heart Houten Plaatje

Forest Heart is een projectachtig werk in Naqshbandi, een methode om inlegwerk te maken die beweert de implementatie te zijn van een nieuwe periode in de geschiedenis van deze houtkunst. Aanvankelijk toont het de figuur van een vogel, elk stuk van zijn lichaam uit het hout van een bosboom. Het opmerkelijke punt is echter niet alleen dat de originele houtkleuren behouden blijven, zoals dat meestal bij alle inlegwerk wordt gedaan, het bespaart ook patronen, lichte schaduwgolven en texturen. Een wereld van verrassende ontdekkingen die elk stuk heeft met zelfs een vergrootglas-look, zodat de kijkers de natuurlijke kansen van het bos kunnen zien.

The Recognition

About the A' Design Award in IJzer

Forest Heart Houten Plaatje is winnaar van de A' Design Award in IJzer, een prestigieuze erkenning die wordt toegekend aan goede ontwerpen die voldoen aan de professionele en industriële eisen die worden verwacht van goed ontworpen creaties. Winnaars in IJzer tonen grote vaardigheid, hoge specialisatie, deskundig inzicht en het creatieve vermogen van hun makers. Forest Heart Houten Plaatje wordt verwacht een hooggewaardeerde, bewonderde en gekoesterde creatie te zijn die praktisch en innovatief is. Dit ontwerp dat de A' Design Award in IJzer heeft gewonnen, integreert de beste praktijken uit de sector en heeft bekwame technische kenmerken die verbonden zijn met knowhow en talent. Forest Heart Houten Plaatje wordt gerespecteerd om zijn grondigheid en is ontworpen om verbeteringen van de levenskwaliteit te bieden die helpen de wereld een betere plek te maken.

Behind the Design

Press Kit

Credits, team members and technical details provided by the designer.

Unique Properties: This art project tries to fulfill three intended purposes:
1. Taking a fresh look at wood to explore a new perception in it and to harmonize with its pure nature as well, so we can come up with original ideas to create real art.
2. Applying an innovative technique in working with wood and also in using common tools so we could achieve adequate quality in our performance.
3. Discovering, creating and defining new ways to gain desired images by tracing natural patterns in pieces of wood and making a synthesis between them.
Dimensions & Packaging: The size is 35 in 60 cm.
The thickness of wood sheets were 4 mm.
The number of pieces are 47.
The weight is 700 gr.
All the colours and shades are chosen carefully to seize the natural fortuities in the woods.
Tags: naqshbandi, wood pattern tracing, marquetry, wood pattern, double cut, wood texture, wood cut, coping saw, wood character, wood art
Production Technology: Defining a geometrical table based on cutting angles plus a method of cutting for even 1 mm pieces, and trying to have desired wood patterns and spots by restoring in perfect conditions like natural moisture percentage, etc. to benefit from bacteria activity were the main production phases.
The types of wood, they were haloxylon for the body and the head, barberry for the tail, fig for the feet, tree of heaven for the nose and the leaves, acer monspessulanum (keykom) for the leaves again, jujube for the beak, European ash for the background and wenge for the margin.
The tools were coping saw, plane, sanding paper, nail and hammer.
Design Challenge: Defining geometrical patterns of cuts so that pieces of wood could save their original patterns, overcoming the thickness of cutline without using primer, and coming up with the idea of what I call Double-cut at the time of sanding to prevent the destruction of sub-patterns and sub-textures and save the main image are the parts of this work that ended up being its challenges.
Research: Naqshbandi is a new method or attitude which is used to create this piece and aims to benefit from connecting lines, expanding textures from one piece to another, and deciding upon the true light shade, not just the colour contrast and various tonalities as it is usual in other works of marquetry. It requires the artist to make a full-hearted attempt to harmonize themselves with the nature of wood as much as possible, and help them grow a clear perception of their work and gain a direct inspiration from natural fortuities given by wood. So, the whole thing will finally sound the art of nature in the eye of beholder.
Inspiration: Natural wood structure, consisting of a variety of colours, illusory lines, special texture and darkened and bright spots with special makeup during the growth of the tree, can broaden any individuals' horizon in many impossible to imagine ways. The cutting angle of the wood makes these motifs look even more varied on the surface of a piece, cut from the main wood. With this discovery of what the cutting angle leads to what l am thinking of, l came up with this idea that I would find a base for this to control the patterns, lines and colors of the wood to create an originally incredible image based on the nature of wood and not manual changes.
Project Duration: This work was created, in Tehran, started and finished in 2010, and to find appropriate woods they were provided from different places.
It took 6 months to accomplish the project as it turned out to be time-consuming to find desired wood pieces.
Operation Flow: In this project-like work of art you can see a specific way of working with wood using the fewest pieces and mainly benefiting from the natural colour and also texture of the wood so you can build up a perfectly complete image, which actually cannot be repeated or copied as patterns in each piece are naturlly unique. Thus, it can be artistically used as a piece of decoration, specifically in wood-based decorated spaces on the wall or a shelf.
As for the transformation, it could be carried in a box of the same size and as it deos not weigh that much or take up much space, it does not matter a special transport.
Team Members: the artist and the founding father of the method: Mohammad-ali Vadood