There is a feeling that it could be this high and this wide. There would be glass so the instrument might be seen and have a door to access it.

What about the bow? Should not the bow be on display? The cabinet could have a wide door for the violin and a narrow one for the bow. Two doors: the cabinet is now given reason and rationality; life is given in the asymmetry.

 

At the core of my creativity is a love of investigation: a love of insight into the subtle- ties of structure and design: the how-and-why as we understand it at the moment. At its best, this is an experience of sublimity.

Into my work I have incorporated the knowledge, rigor, and manual finesse from a career as a research chemist.

By seeming coincidence, in both Science and Art I have been linked with expressing an insight into the structure of a tree. Wood is a sustainable polymer-composite, which is the science of it. The Art is to seek structures that express toughness and yet are visually delicate like the tracery of the construction of a tree.

“Nowadays we cannot ignore the science that underlies and explains an art: it often helps us reproduce what is old, often to invent what is new. And science, although it cannot tell us how to make a beautiful object, can frequently instruct us how to prepare a material capable of beautiful expression in the way of form, or surface, or colour; and surely the scientific analysis of the beautiful does not lessen its charm while adding to it fresh intellectual interest.”

Sir Arthur Church (1834 – 1915); Crafts, March/April 2005, pp 20-21

 

 

We might have a feeling for a cabinet to hold a violin.

There is no image; there is only this personal, emotive feeling.

There is a wall and a chair where we often sit.

The feeling of wholeness of this space must not be lost.

The cabinet would be simple, a simple niche that would belong to the wall: a place that could be charged with magic content. Its proportions will be very important.

 

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