Embracing this challenge, Endgrain showcases the possibilities provided by this different approach to dying wood. Furthermore staining the wood all the way through leaves it consistently saturated : When a wall is dirty you paint it, adding a layer - but when Endgrain gets dirty or fades in the sun, removing or sanding the layer makes it look brand new again.
The idea for the timber soaking came from xylem, a compound tissue in vascular plants and trees that helps provide support and that conducts water and nutrients upward from the roots. We reasoned that if water could be transported through a wood’s grain, so could dye. Experimentation helped us settled on two types of wood: jelutong timber and southern yellow pine. We use both woods to achieve the final aesthetic of the collection - both woods bring out the colour, and the pine the natural grain of the wood.
The constituent wood blocks in the pieces are glued together much like a butchers block : facing up, because it’s the stronger surface of the timber to withstand chopping meat with a big knife.
Inspired by checked patterns, the grid arrangement of the coloured blocks introduces what we usually see in textiles into three dimensional wooden piece. When sculpting these 2D patterned blocks into the finish objects, the volumetric shape distorts the graphic patterns in a surprising and unexpected way that feels almost like a three dimensional marquetry. Furthermore, cutting a section of a sculpted piece will reveal the process. Quoting an inspiring comment we read about Endgrain on dezeen : ‘Who would have thought squares could be so curvy?’