56 Australian Wood Review
PROFILE‘S
ometimes I’m simply lost in
form,’ said wood sculptor
Hape Kiddle, 46 a few months ago
when I phoned him to learn more
about his work. It’s not hard for the
viewer to also get lost in the fluid and
meditative quality that defines his
work. Spirals and coils that remind
of tendrils and unfurling plant forms
reveal a deep connection to nature
that extends to the stylised whales,
fish, birds and even human imagery
that also appear.These are forms that tell stories, that
glow with the kind of ‘simplicity’
that only technical mastery and clear
artistic focus can achieve.It was enjoyable to hear about Hape’s
background and some of the things
that drive his thought and technical
processes. Here is a summary of
some of the questions asked and the
replies given.Who is Hape Kiddle?When you work in the arts the
idea of always defining yourself is
always interesting. I actually refer
to myself as a maker. I’m more of a
sculptor who works in timber rather
than a traditional woodworker, but
I’m incredibly passionate about
timber and trees and making
natural forms.What draws you to wood?There’s a resonance there, something
that just feels connected. I’ve worked in
other materials – I’m a goldsmith and
worked in jade as well – but everything
else is secondary to wood for me.Have you always carved wood? When
did you start?I’ve been playing with carving since
I was six and a half, carving pumice
near the Rangitikei and Hautapu
rivers where I grew up. I was always
fascinated by the traditional Maori
carving back home but it wasn’t until
I studied furniture making at theChasing Lines
An interview with wood sculptor Hape Kiddle reveals some of his
design influences and work processes. Story by Linda Nathan.