There is a perpetual circle between nature and culture, or at least our perception of the two. I stand within this ring and become dizzy, trying to follow the ever-changing relationship between my environment and myself. As soon as I fix my gaze on a landscape it fills with objects that have more significance than my immediate perception of them allows; when I approach an object, landscapes are evoked.
How can I reconcile an object with its history? Equally, how can I achieve a reconciliation of my own history with the objects with which I surround my self? Wood surrounds me. It houses me. It is a tool that I have obtained from nature, a nature which has long been controlled by a culture. Whether a piece of found wood is older than me chronologically is unimportant. It is always already older in character. But progressive design still sees wood as a future material.
When I idolize Wood, I am idolizing a tool that has already been used; its life as it was intended is over. By idolizing Wood I am writing a tale that connects my self with my environment. This signifies an attempt to return to the world of perception: by using my surrounding world (objects), I am connecting to the environment by inhabiting, rather than looking down upon it.
The inherent fatality of an object made from wood goes unnoticed. By addressing this fatality I am underlining our own ignorance of the world that surrounds us.
