It could be said of Janel Jacobson that she
sees things in a very small way. For one thing, she looks for the world that many
of us pass by without seeing: The leaf curled in on itself, the tiny frog clinging
to a twig, the tree cricket flattened against a day lily. It is apt, then, to
see the tiny details if you are carving netsuke and ojime, like Janel does. Netsuke
and ojime, though now often thought of as highly desirable collectibles, were
originally very practical items worn with traditional Japanese garments.
A tiny snail crawls on the shell of a larger snail. Boxwood and Baltic
Amber.
(#317 - 1999) 1.6 x 1.13 x .75 inches
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Since
these garments had no pockets, pouches were carried. The netsuke is the toggle
that tucks up into the obi (the sash) the ojime is the cord-tightening bead with
a small hole drilled straight through. Both are "very small and bead-like,"
often less than 2 inches in diameter. Classical netsuke and ojime often borrow
themes from the Japanese zodiac, folklore, and myths. Living in rural Minnesota,
Janel seldom has to look beyond her own backyard for her nature-inspired work.
Out
of the Clay and Into the Wood
Apple Blossom
An apple blossom is carved in shallow relief
on the lid of this small manju style netsuke. Mammoth Tusk and African lackwood.
(#327
- 2000)
1.2 x 1.2 x .3 inches
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In
the beginning, Janel was a potter. In 1990, she began to carve porcelain netsuke
and ojime in addition to creating shallow relief carving on bowls, boxes, and
vases. In love with the detail of netsuke and ojime, she started attending netsuke
conventions. The more she worked in porcelain, the more frustrated she became
with its limitations.
"At
first, I started arguing with myself about glazing. Then, I regretted having to
commit the (carved pieces) to the fire.
The
frustration mounted until, in 1993, she started carving a piece and it cracked.
It was a good friend who may have unwittingly helped Janel turn the corner to
carving in wood by sending her a piece of boxwood. She came up with the subject,
Tree Frog and Spring Apple, and the rest, as they say, is history. Janel enjoys
the "carvability" of wood and the detail that can be achieved in hardwoods
versus porcelain. She is still learning about wood, and takes joy in discovering
what she can get out of it. She also finds things in wood, like "the suggestion
of water" that isn't available in porcelain.
Tree Frog, Lady Bug & Caterpillar
A small tree frog waits with company on a curled leaf. Boxwood, moose antler,
amber, gold powder, sumi ink.
(#324 - 2000) 1.9 x 1.75 x 1.4 inches 4.9 x 4.4
x 3.7 cm
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Making
the Transition
Before
carving in wood, Janel talked to other carvers, like a West Virginia spoon-carver
who would let Janel "bend his ear" for hours. But aside from looking
and listening, there is little better than just doing. Most of Janel's carving
skills were developed independently. She would frequently observe works and figure
out techniques on her own.
Beyond
technique, there were and are other issues: Isolation from other netsuke carvers,
for one. According to Janel, it is not a commonly practiced art form in the United
States and, "I don't speak Japanese, so that's a problem." She does
stay in touch with several other netsuke carvers -- but one is in Australia, another
in England. She is also isolated from many of her clients. To overcome that, the
Internet and e-mail have become useful tools. Using the Internet, says Janel,
keeps her "connected to a very spread-out group."
  
Ready
Boxwood, amber, sumi ink, gold powder.
(#330 - 2000) 3.3x 1.06 x 2.7 inches
8.4 x 2.7 x 6.8 cm |
For
the Love of the Art
Janel Jacobson may not be a household name, but she
has made a name for herself in the rarefied world of netsuke collectors. In addition
to attending netsuke conventions, she has had shows and exhibitions of her work.
And she is "very thankful for the clients who have supported her."
Luna
Moth
The wood is from the forest near my
home. Luna moth sightings are very rare here now due to changes in its habitat.
Hop Hornbeam, opals.
(#329-
2000) 1.6 x 1.75 x .4 inches
Luna Moth
(detail showing opals)
3.3x 1.06 x 2.7 inches 8.4 x 2.7 x 6.8 cm |
The ultimate
honor for Janel came late in 2000, when she was selected with four other women
artists to participate in the Renwick Gallery's first invitational "Five
Women in Craft." The Renwick "greater public awareness of American craft
by identifying exceptional artists." Janel's work was represented by eight
works in porcelain and seven works in wood.
Janel
continues to develop her craft and her understanding of wood, and will undoubtedly
continue to receive honors and awards. She feels her understanding is growing,
though, when "she can answer the email questions" she receives from
both men and women carvers. "By being able to answer their questions, I know
that I know much more than I did ten years ago."
Work
in Progress
Tree Fungus & Beetle
A beetle explores the underside of
a tree fungus. Moose antler.
(#320 - 2000) Larger with beetle 2 x 1.4 x 2 inches
Smaller 1.3 x 1 x .6 inches
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When
carving is your livelihood, there are always challenges. On top of being a carver,
Janel manages both her own business and her husband's (he's a potter) and is the
mother of a 9-year old son. Meeting the challenges often necessitates being innovative.
And when you carve netsuke, it can be as basic as finding tools that enable you
to work in detail on miniature projects. Standard woodcarving tools, for instance,
are seldom small enough. As an alternative, Janel has investigated using metal
engraving tools. She also makes some of her own.
The
seed for being innovative and self-sufficient may have been planted by her father,
who gave Janel an assignment and a mission: "Twenty-four years ago, my father
told me to build my own tool box. He told me to take care of my own tools so 'others
don't have to do it for you'." She says she also remembers the words of her
teacher, renowned potter Marguerite Wildenhain, who made it clear to her that
"women have to be dedicated if they want to go on making pots for a living."
It's just as true when you're making your living as a carver.
This article originally appeared in the Woodworker's Journal eZine.
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Copyright; 2010 Woodworker's Journal
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