Greg Kent’s sculptural woodturning begins with an appreciation for the innate character of timber, its grain, burrs, colour and evidence of decay, but it extends far beyond the material’s natural beauty. Self-taught and later supported through a QEST Scholarship, Kent has developed a practice in which traditional vessels become stages for satire, storytelling and social observation. Each form is turned, carved and altered with carefully chosen inclusions, allowing the wood itself to shape both the object and its meaning.
Drawing on history, current affairs and the absurdities of modern life, Kent uses humour to approach subjects that might otherwise prove difficult to confront directly. His work invites viewers to question what they see, from the legacy of empire and the myths sustained by power to contemporary ideas of consumption, masculinity and aspiration. There is a generous openness in this approach: the vessels do not dictate a single interpretation, but encourage discussion through their wit, craft and unexpected visual juxtapositions. In this conversation, Kent reflects on the narratives that drive his work, the possibilities of wood as an artistic language and the ideas currently taking shape in his Lancashire studio.
Are you self-taught, or did you undertake formal artistic training?
I am a self-taught woodturner who took up the craft 10 years ago as a hobby to help me relax after a hard day of teaching. I would describe my self as a graduate of the University of ‘YouTube’. Although, I have subsequently received extensive training as a result of a QEST Scholarship. In terms of any artistic training, I gave up art at the age of 13 and never thought I had a creative bone in my body. However, I was invited to take part in the Crafts Council’s Collect Open Exhibition and part of the application process involved describing/explaining the narrative for the work you wanted to create for the exhibition. This was a new concept for me. I am an avid reader of history and one topic that fascinates me is the British Empire and the reality of empire that is not taught in schools. I also like tea and it struck me that many of the worst elements of British conquest were linked to tea. For example, the Opium Wars, Slavery and the Boston Tea Party. Immediately it occurred to me that my narrative for the Collect Open should explore the reality of empire through a Mad Hatter’s tea party. This then drove the creative process and the pieces I made. So, the idea of using narratives to drive my woodturning/sculpting opened up a whole new range of exciting creative and artistic possibilities.
How would you define your visual language or conceptual approach?
The basis of my work is a journey that explores the beauty of wood and the narratives I can create with it. My work is based around the traditional craft of woodturning and turning it into an art form. This is done by using functional forms as the canvas for exploring issues. The wood’s story is in its growth rings, colours, burrs and rot. This is fine art created by nature which is then revealed by a master craftsman. The traditional vessels, which are created, are then manipulated using a range of wood working techniques and are combined with a variety of objects to conjure a scene that needs to be understood. The existential issue that the observer is confronted with includes humour, hope, and cryptic references. Whilst the object is created with the narrative driving the form and inclusions, what interests me, as the artist, is how the viewer interprets it. This then means that people with different perspectives can engage in discussion about potentially difficult and provocative topics. By talking about what the vessel represents to the viewers and creator we can explore issues by confronting the object and not each other. In this way the journey continues.
Can you describe your creative process from conception to completion?
I have an idea that makes me laugh. That idea comes from the world around me and meshes with my reading about history and current affairs. I have a large log usually about 3m by 1m, that would have been firewood, delivered to my door. The narrative and the properties of the wood, it’s grain, rot, burrs and colours combine to shape the piece. The piece is turned, sculpted and has various inclusions added that illustrate the narrative.
Does narrative, symbolism, or storytelling play a role within your work?
Narratives driven by current existential issues inspire me especially if they enable me to poke a finger in the eye of authority.
Which artists have most influenced you historically or contemporarily and why?
With regard to wood turning I am inspired by the work of Alain Mailland, a French woodturner who creates organic forms inspired by nature. Artistically, I like the approach adopted by Diego Rivera. Anyone who can use a commission by JD Rockefeller to create a mural called ‘Man at the crossroads’ for the Rockefeller Centre with its pro-worker content at the time of the Great Depression is creating art to make a difference
What personal, cultural, or environmental influences shape your practice?
My life as an ordinary bloke and absurdity of modern life shape my practice.
Where is your studio based, and how does the space inform your creativity?
My studio is in Lancashire and is purpose made to enable my woodturning and sculpting. Everything outside this island of sanity informs my creativity.
Do you have any rituals or rhythms that anchor your studio practice?
I walk my dog to clear my head and clarify what I need to do that day.
What bodies of work or projects are you currently developing?
I have a range of work going on which explore which explore a variety of themes. There are two pieces I am particularly excited about. One explores the idea that we are what we consume. We consume and invest in a diet of myths created by billionaires and oligarchs. What this will produce or result in us excreting is spelled out by John Steinbech in the Grapes of Wrath. The other project is looking at the aspiration of men in today’s world. This piece shows a perfectly beautiful vase that is trying to carve its own six pack.
Where can collectors encounter or acquire your work?
I sell my work at various galleries and exhibitions and via my website gregkentartinwood.com
