In pursuit of imperfection.

There’s this weird tension that I find myself living in as a guitar maker, and I’ve known about it for some time. I’ve wrestled with it and conceded defeat several times, but I’m certain I can live in harmony with the tension.

I see beauty in the imperfections of the timber I work, and the work of my hands. Part of me wants to highlight it, celebrate it, enjoy it for what it is. But another part wants to cover it over and hide it behind a glossy finish.

I’m sure this is just conditioning from seeing multitudes of shiny, mass produced guitars, but also a fear that people won’t see the same beauty that I do in knots and swirls, and the micro texture of a hand applied finish.

I do want to be clear about one thing, though; I’m not talking about sloppy workmanship. I take pride in always doing my best possible work. I strive to make instruments that are a joy to play, and will last for generations. None of the imperfections I like to celebrate affect those things.

I’m more interested in throwing off my own pre-conceived ideas that wood has to be perfectly flat and smooth and free from small knots or discolouration. That finishes need to be glass like and blemish free.

I’ve begun challenging myself to intentionally be aware of these things, and build with them, not against them. Most recently I built a guitar that highlights the texture of the burnished Douglas Fir top. It looks stunning, and the feel is organic.

I plan to continue building this way for non-commissioned work, and hopefully one day people will start requesting this sort of work.