We assisted Lubna in developing three large sculptures based on her wonderfully detailed and unique drawings and ceramic maquettes. They are in part derived from Chowdhary’s research into colonial period furniture in the Victoria and Albert Museum collection.

The development of their production evolved through a close working relationship with the artist, involving lots of discussions, sampling, trials and errors. The results are remarkably special, and bring Lubna’s unique vision to life using some of our most technical and precise woodworking knowledge.

Two British grown timbers were selected for the pieces; brown oak and creamy white sycamore. Fabricated using both traditional manual techniques alongside CNC production, the sculptures balance perfection and individuality in a way seen across Lubna’s work. Switching between the hand and the machine allowed us to achieve an incredible level of detail in these intricate sculptures.

Whether selecting timbers for their tonal contrast and ombre fades, accentuating joinery to draw the eye or even in hammered textures that go deep into the numerous holes and pockets, each little detail helps create three exquisite wooden sculptures that give a feeling of functionality familiarity.

Lubna Chowdarys sculptures were created as part of her amazing solo show ‘Erratics’ at Peer Gallery, Hoxton street, London.

The largest piece of the three, Erratic 1, comprises 14 tapered legs holding the main body of 300 ever so slightly mismatched oval holes, topped by seven double-sided oval-shaped domes with hemispherical detailing underneath. The sculpture is made from British grown brown oak and white sycamore.

Perhaps the most intriguing of all the sculptures, Erratic 2 is the only one that was fully made by hand. A complex form of two extruded and perforated ovals, intersected by a central cylinder with circular openings, sitting atop an angled four-legged frame.

Using techniques similar to a barrel maker the oval sections are made up of multiple individually tapered staves that create the changing radius of each form. After gouging out the main bulk of material the ovals were shaped with a compass plane (where it would fit) and a razor sharp carving axe on the tighter curves, before finally being finished with gooseneck scrappers. Once formed, each oval was hand machined to accept the central joining cylindrical section.

A grid formation was then drawn across the surface of ovals and split into two halves, the lower half receiving a contrasting sycamore dowel and the top section drilled clean through. Similarly to Erratic 1, each hole is drilled out of alignment, offering a slightly askew appearance in keeping with Lubna’s ceramic models. The result is a complex sculpture that utilises numerous hand forming processes and focuses more on the traditional skill set of a maker.

This seemingly simple form is shrouded in complexity. The five sided ‘box’ (open at the bottom) houses 296 ever so slightly mismatched circular apertures through the brown oak exterior and leading into white sycamore, each one framed by a delicately softened grid. The contrast between the two layers of timber is highlighted with a lightly hammered texture within each sloping circular hole.

The main protruding box supports itself on four through-tenon joints into the main upright of the piece. 21 arches then span the length of the sculpture behind this, with sycamore legs slightly profiled on their edges to give a softness that contrasts the angular box section at the front. The curve at the end of the arches results in a changing leg profile that pinches into a triangular form so that the silhouette of each arch remains constant.