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Makers

The Queue: Douglas Molinas Lawrence

The Knoxville, Tennessee–based woodworker carves, chips, grinds, and scorches blocks of wood into masterful vessels.

Lawrence tells us about his favorite woodworking tools, a Japanese tsubo vessel artist, and an inspiring craft institution close to his home.

By Shivaun Watchorn
February 20, 2023

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#The Queue
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Photo courtesy of the artist

Douglas Molinas Lawrence, No. 100, 2022, partially scorched ash, 6 x 6 x 2 in.

Douglas Molinas Lawrence makes magic out of 72 cubic inches of wood.

After Lawrence’s parents gave him a pocket knife as a child, he compulsively carved found sticks and tree limbs on his family’s farm. With a background in environmental science, forestry, and architecture, the Tennessee-based artist has carried his fascination with wood into his artistic practice. “I still always feel this sense of wonder at removing bark and discovering the unique color and grain pattern of the wood beneath,” Lawrence says. He is currently making a series of richly textured bud vases out of 6-by-6-by-2-in. blocks of wood. Read more about these vessels in “Best Buds” in the Spring 2023 issue of American Craft.

How do you describe your work or practice in 50 words or less?

I am a wood sculptor, creating functional as well as purely sculptural pieces, mostly relating to the vessel form. My process is varied, combining the use of traditional and modern tools and techniques.

Photo courtesy of the artist

Douglas Molinas Lawrence.

  • Photo courtesy of the artist

    Douglas Molinas Lawrence, No. 112, 2022, partially scorched white oak, 6 x 6 x 2 in.

  • Photo courtesy of the artist

    Douglas Molinas Lawrence, No. 63, 2022, black walnut, 2 x 6 x 6 in. The surface of this vessel was hand gouged.

  • Photo courtesy of the artist

    Douglas Molinas Lawrence, No. 105, 2022, leopardwood, 6 x 6 x 2 in. In the background, there sits an untitled marquetry experiment using various wood veneers, 16 x 12 in.

Who and what—craftspeople, artists, ideas, books, music, nature, etc.—inspires your work?

At university, I studied both architectural design and environmental sciences, and a lot of my work is still this exploration of where the human world and the wider natural world intersect. Lately I’ve been really inspired by potted plants, both for the pots and the plants.

If you could have a work from any contemporary craft artist for your home or studio, what would it be and why?

It would have to be a Kazunori Hamana tsubo vessel for the organic forms and soft colors of the work. As well as being a self-taught artist, he is a rice farmer and fisherman, and I appreciate the balance that this variety of work brings to his practice.

What are your favorite types of wood to work with, and why? From where do you source your wood?

Oof, I don’t think I can pick! One of my favorite parts of working with this material is its incredible natural diversity. Alongside my studio practice, I develop reforestation and agroforestry projects, and I am always amazed by the variety of trees that exist. I salvage logs from storm-dropped trees in the area and get lumber from a local yard.

Photo by Noboru Murata

Kazunori Hamana, Untitled, 2020, ceramic, 23.25 x 28.5 x 22.25 in. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo.

What are your favorite tools in your tool kit?

A small sweep gouge and an angle grinder. I only started using power tools about six years ago, but now I enjoy the balance of fast and slow and loud and quiet work. The grinder is for rough shaping, and my favorite finish is a hand-gouged texture.

Which artists, craft exhibitions, or projects do you think the world should know about, and why?

Arrowmont School of Arts and Crafts in the mountains of Gatlinburg, Tennessee. Last summer, I took a weeklong woodblock printing course there, taught by J. Leigh Garcia, and it was a great experience in a great setting.

 

Shivaun Watchorn is associate editor of American Craft.

Photo courtesy of the artist

A bud vase in process. Lawrence uses an angle grinder to shape it.

Visit Douglas Molinas Lawrence online.

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This article was made possible with support from the Windgate Foundation.

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