Adam Birch's sylvan sculptures articulate 'Like Something Almost Being Said'

Tree, craft, art—these elements are woven together intricately by South African artist Adam Birch, through his functional timber sculptures. Like Something Almost Being Said is a solo exhibition showcasing Birch’s hand-sculpted works, on view from June 6 - August 22, 2024, at the Southern Guild gallery in Cape Town, South Africa. Crafted from locally felled trees, each exhibited piece captures a deep dialogue between the artist and the material, revealing the natural character and inherent beauty of wood.

Birch’s sculptures are carved from a single tree, featuring forked seating and large-scale forms without the traditional assistance of joinery or assemblage. His approach is intuitive, guided by the natural form and grain of the wood. Describing his process as "refinement rather than making," he allows the wood's original shape to influence the outcome. This method results in works that defy conventional expectations, characterised by supple curves, hollows and prongs.

With over two decades of experience as an arborist, Birch has honed an intimate understanding of trees. He can identify species at a glance, discerning the unique qualities of their timber, from grain movement to pliability. This knowledge allows him to engage with the material on a visceral level, bringing about furniture designs and pieces of sculptural art that appear organic as if they naturally emerged from the tree's life cycle.

Working from his open-air workshop in Noordhoek, Cape Town, the sculpture artist employs a chainsaw as his primary tool. This unconventional choice demands intense concentration and focus. "The intensity, the sheer noise and the physical risk encourage a singular focus. It's a simultaneous process of concentration, survival, adrenaline and intention,” as detailed in the press release. After stripping away the tree's bark, he seals the inner wood to control its drying process, allowing some trunks to rest for years before they are sculpted into their final forms.

In his workshop's outdoor space, the sculptor uses spray paint to sketch loose shapes onto the tree's surface, marking the areas to be hollowed out. This practice connects him to the elements, positioning him within the natural forces of wind, rain and sunlight. Tied to the outdoors, his practice has enabled him to develop a practical understanding of the coastal climate, attuning himself to the arc of the sun, humidity and weather patterns. This connection to nature informs every aspect of his creative process.

One of the recurring motifs in Birch's sculptural vocabulary is the fork: Forks emerge at critical points in a tree's anatomy, where the wood is densest and the grain is unpredictable. While other arborists often discard these sections, Birch is captivated by their potential. By carefully extracting and refining these shapes, he creates seating forms that accommodate multiple bodies while maintaining the tree's inherent stability and energy. Each fork is shaped to enhance its natural energy, generating aesthetically striking functional art pieces.

Birch’s practice emphasises sustainability and ecological awareness. He only fells alien tree species that are non-native to an ecosystem, as they may cause environmental harm or affect human health. Conversely, he employs indigenous wood from already fallen trees. His trunk-to-twig approach ensures that no part of the tree is wasted, with each section utilised for various purposes, from planks to firewood.

The paradox of the artist’s wood sculptures lies in its apparent simplicity. While the forms are straightforward and singular, they possess a metaphysical quality that transcends their utilitarian purpose. Each piece is imbued with restored life, diverging from the felled trees' conditions.

The exhibition's title, inspired by Philip Larkin's 1967 poem The Trees, reflects this metaphorical journey of mortality and renewal, decay and rebirth. Birch's sculptures become energetic signs of renewal, transforming what was once lifeless into something full of vitality.

In a time where virtual and synthetic approaches are common in art, Birch's practice remains rooted in ecological realities. His work explores the interplay between the human experience and the natural world, offering a tactile reminder of our connection to the environment. By engaging directly with the natural material and the elements, he creates sculptures that resonate with a sense of authenticity and timelessness.

Adam Birch’s 'Like Something Almost Being Said' is on view from June 6 - August 22, 2024, at Southern Guild, Cape Town, South Africa.