Approach
Although he made a living of his craft, Krenov referred to his attitude towards his work as that of an amateur, feeling that the competitive attitude of a professional causes one to compromise one's values as a craftsman. He avoided calling the conception and creation of a piece as "design," preferring a more inclusive term "composing." Composing, explained Krenov, is reacting to the wood, a continual re-evaluation and improvisation open to wherever the wood takes the composer.
In his cabinets and other pieces, Krenov paid careful attention to variations in woodgrain and color in his search for "harmony" in a piece. A self described "wood nut," he often sought out woods that are rare, highly figured, or containing unique coloration. Krenov was also highly critical of those who seek "originality" at the expense of well made furniture.
Although Krenov believed machinery has its place in the shop, (namely to efficiently complete the relatively grueling and crude early stages of stock removal and thicknessing) he felt an over-dependence on power tools removes the "fingerprints" left on the finished piece that only handwork can leave, and alienates the craftsman from his work. Krenov criticized the trend in woodworking schools toward the early use of power tools, instead of building a foundation of hand skills. Instead of focusing on which machinery one should buy, he put emphasis on having well-tuned equipment.
Graduates from Krenov's College of the Redwoods classes have gone on to professional furniture-making, writing craft books, and teaching in many programs throughout the world.
Read more about this topic: James Krenov
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