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Publication Date: 2017-09-13

Craft—Why We Make Things and Why It Matters

John Bisbee – Brunswick – Welding Sculptor
 On a recent exploration of a bookstore in Camden I came across two books that spoke to me on this subject, one by Maine furniture maker, Peter Korn–WHY WE MAKE THINGS AND WHY IT MATTERS, The Education of a Craftsman and a coffee table book HANDCRAFTED MAINE by Katy Kelleher and Greta Rybus. 
Ray Murphy – Hancock – Chainsaw Sculptor
 Schooled to become a lawyer, Peter abandoned his father’s planned corporate path to find himself on Nantucket in an old abandoned barn making furniture in the early 1970’s, when the craft (like so many crafts) had all but disappeared. Peter discovered himself through the making of things. This was a real self-transformation- of body, and of spirit and mind. 
Alec Brainerd – Brunswick – Artisan Boatworks
 Peter not only found the making of objects self-affirming, but as a cultural necessity. He saw craft as a societal and cultural memory made up of markers, for every time an object was created it passed an empirical knowledge through the object to the next generation of creators as a continuous conversation through history. 
Jeremy Frey – Indian Island – Basket Weaver
 Peter explores the notion that with the loss of craft, society has been left undernourished, constantly trying to fill the void of meaningless occupation with consumption. He equates the nature of work with the nature of a good life. 
Tim Adams – Newcastle – Oxbow Beer
 At one time, there was no distinction of importance in occupation; those who “made” provided for both themselves and their communities. In the 14th century the Renaissance separated the artist from the craftsmen—art from making—beauty from utility. This was known as the Cartisan Divide; a seperation between mind & matter. This division placed the arts in the realm of the mind, and the “applied arts” became a lesser reflection of that of the body. 
Tim Semler – Brooksville – Tinder Hearth (Bakery)
 Korn states that a work may reflect a particular aesthetic related to a movement or time, bringing with it “a thick cultural narrative of style and meaning.” Secondly, it possesses a physical impression in its details; the beauty of the wood, a dovetail corner, a shape or form, a finish; “each transports a silent freight of information.” Thirdly, the emotional fulfillment the object brings to its owner that which only gains personal meaning over time.” 
Masa Miyake – Portland – Meat farm – Restaurant –
 As farmers, potters, furniture makers, chefs, brew masters, fishermen, artists, weavers among others who forge a living through their living cultural transformations in craft, the people of Maine are truly authentic. They are connected—to each other and to their past. They have learned from those before them how to make and will teach those after to do the same—giving true meaning to all they do and to the lives they live—what I believe Peter would call the “Good Life.” 

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