Woodcarving is an age-old art, although the oldest objects carved in wood have been destroyed by the effect of time and the material’s perishable nature, and hence little woodwork remains from the ancient world. From medieval times many woodcarvings have been preserved, already showing great… craftsmanship. The techniques are much like those still used today, as are the tools, except for the fluted wooden handles to be found on today’s gouges. This is a rarity in a world in which everything changes fast – but in this craft nothing must be rushed.

In terms of procedure, woodcarving is a path of no return, starting always with anticipation and sometimes culminating in success. The work method leads us towards the desired form through the removal of surplus material, by subtraction. The process, as mentioned, is perilous, and its chief peril is irreversibility. This has been a concern historically and great efforts have been made to control or at least to minimise it. One of the oldest methods which has subsisted to the present is the technique of transferring points from a model using a three-point compass. The technique is intended to apply the grid method used on flat surfaces to work in the round. Modern technologies and mechanisms facilitate faster and more precise ways of transferring points, though José Antonio still prefers artisanal carving allowing him to produce unique pieces, and lives with the perils of direct carving as just part of his work.

The first phase of direct carving entails removing most of the surplus material, and so blows must be struck firmly. Here the carver’s work involves large volumes, the main lines of a piece and the proportions between its parts. The form sought is still far off, underneath a thick cover of wood. It must be approached progressively and as a whole, without giving priority to certain parts over others, as the entire piece should emerge at once. The carver continues to fit dimensions together, removing increasingly superficial layers of wood as when peeling an almond. Little by little one starts to sense the form, covered by a wooden layer that becomes thinner and thinner. This is the time for little details and fine gouges. The object is never finished, but a point comes at which it is deemed complete. This is work which requires boldness to proceed as well as caution enough to know when to stop, both traits being equal in value.