I arrived in the sunny backyard of a Venice, California boutique to find students already working in shaded areas. Under the outstretching tree, on a blanket, was Master Woodcarver Yo Takimoto chopping wood with a Japanese axe. He began by showing us a series of examples of his Japanese woodcarvings, organic forms that resembled stones and letter openers. He then directed us to choose a piece of wood that spoke to us, yet warned us of choosing too hard of a wood. We sat in front of him as he roughly rounded our chosen blocks with his axe. He instructed us not to carve with an intention of the outcome, but for the enjoyment of the act, letting the wood shape itself into a natural figure.

He handed us Japanese carving knifes called "Kiridashi". Yo Takimoto best describes the carving process:

"When carving wood, I am often reminded of the Mother Nature that tends to be forgotten in the urban environment. I can be in tune with nature while spending hours and hours in the end with the wood, and paying attention to what the wood itself is doing. I call this "kikezuri" which is an act of whittling rather than just carving. Many woods that I bring to the workshops are from Japan and from the U.S., where I have traveled and collected along the way. Each has a different history, touch, scent and character. At my woodcarving class, I encourage everyone to pick the material as you see it, and to find the character of the wood as you carve it."

I chose a bright spot to sit, observing the Japanese Silkwood I held in my hands. There appeared to be spalting in the wood with black lines arching through one side leaving the other half with clean grain. With the knife placed in my right hand, right thumb on the beginning of the blade and the wood in my left hand, I began to round the wood, pushing the small strokes with my left thumb.

The Japanese carving process was quite meditative. Occasionally, Yo would pick up my piece, observing it carefully while he reached for his own knives. Viewing the piece in his hands, he made quick cuts shaping the wood and would then pause to study before carving again.

After four calm hours, I had a blister on my thumb and a beautiful Japanese carving to show for my efforts. Yo asked us to name our pieces and record them in his book. I named mine Petra because the lines and pathways created by the spalting, along with the rounded formation, reminded me of the ancient capitol of the Nabataeans.

It was a very inspiring class. I look forward to Yo’s return from Japan so I can learn more!