This week I met with Ian & Edward to discuss our currach building project. I’ve been thinking about another boat project since I finished the recovery kayak and I was attracted to the curach as another lightweight skin-on-frame boat.
The curach is a traditional skin-on-frame boat from western Ireland similar in construction to a coracle. It has a solid set of gunwales built from sawn timber with the hull made of bent hazel rods which are fitted into holes in the gunwales and lashed together. A canvas covering is stretched over the frame and waterproofed with coal tar to make a seaworthy fishing craft.
First we went into the bottom of the mill and brought out a Dunfanaghy curach built in the 50’s by Jack Robinson. Edward got his first curach at age 14 and told us the story of when his father took him to Mr Robinson’s workshop to buy a curach. “How much will it cost?” asked the rather straight-talking Mr Acland. Mr Robinson explained that the currach was “priced at one pound per foot. This one’s 7ft 6in, so that’ll be seven and a half pound.” “I’ll give you eight” came the reply.
With the curach out in the daylight we looked over the size and construction, marvelling at how such a simple and primitive craft was capable of going to sea and had lasted all these years. After discussing options we decided for our first project to build a two man craft 10ft long with a single rower but capable of carrying two people, using a set of gunwales Edward has as a pattern. I took measurements of the timber required and after a hearty dinner of soup, we set off to the woods.
The gunwales for our curach will be sawn from local spruce and the body of the boat made from hazel cut from Edward and Romola’s coppice wood. They’ve been managing the 2 acre site for 24 years, restoring it from a neglected and overstood coppice into a beautiful, productive woodland almost entirely by hand. We’ll be learning as we go along exactly what the ideal material looks like but there was no doubt that the woods were full of suitable rods, enough for a great flotilla of currachs.
The first stage is to research materials and order up the timber so we can start making the gunwales. Our primary aim is to have the curach ready for a big coppice association exhibition next spring at Farfield Mill, Sedbergh but ultimately to produce them as a sustainable craft for the Lake District and beyond.
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I had a lot of fun at the weekend running my stall at Brantwood House. It was a beautiful weekend and something of a shame to spend it indoors but we were fortunately in a brilliant location in the Studio with a window overlooking Coniston Water. It is a beautiful spot and, on days like these, easy to see how it inspired John Ruskin while he lived here. I was running the stall with the help of my friend Susan who’s starting out as a basketmaker and did a good trade in willow stars. My fan birds were also selling well, catching nearly everyone’s eye as they entered the room especially once they realised that each bird is carved from a single, solid piece of wood.
Outside I met Bill Sanders, a trug maker from Shropshire. We talked about making and people we both know from the Greenwood Centre at Ironbridge. I particularly liked the caption on his sweatshirt which highlights how trug making is just one more traditional craft in danger of disappearing. While we chatted,Bill l carried on working on his trugs. Demonstrating your craft at shows like this helps you engage with visitors and show them your skills and the time involved in producing the products. It’s also a good way to keep up your stock and helps the day go by too. Although we were a bit more pushed for space up in the Studio, I brought along my chopping block and carved a few greenwood eating spoons from a lovely bit of cherry.
We’d been working hard all morning turning and raking down the hay and stacking it into pikes. It was a difficult morning, the heat was oppressive for us Brits and we struggled to understand Attila’s instructions on how he wanted us to be working. Once we’d finished, we returned to the courtyard tired and dirty. We ate an excellent meal prepared as always by Attila’s mother and girlfriend then settled down to relax for the rest of the day. Not half an hour later, Attila appeared and told us that he’d spotted his neighbours still working in the next field. There was no obligation, but he was going over to help and, if we wanted, we could join him to help them gather in their harvest before the coming thunder storm.
Off we went, half running up the lane with rakes and forks in hand while Attila shouted back that it was just like we’d been doing all morning, to work the same way. In the field we found the farmer with his son and daughter working to stack up a single pike while hay lay on the ground covering almost an half an acre of steep hillside. We set to work and suddenly everything fell into place and the confusions and irritations of the morning fell away, leaving an efficient haymaking team in its place. I could certainly feel the adrenalin running through me as we raced to beat the weather while lightning crashed around us. Everyone found unknown reserves of energy which at times came out as whoops of joy which were echoed back by others.












Although I make as part of my living it is still also my favourite hobby and now and then it’s lovely to work with a new material and make something just for the pleasure of it. This weekend I got out some of the birch bark that I collected on a North West Coppice Association day in the spring. It’s thin, delicate stuff to work with and needed a fair bit of preparation to clean and smooth out the surface. I followed a traditional pattern, cutting notches into each end of a strip of bark which is then curled round and interlocked. A second piece of bark is glued inside to add strength and so the inside and outside of the pot can have the smooth inner bark showing though I decided I wanted the outer bark on the inside for texture. While the glue sets I used carved blocks and wedges to press the layers together. A handy hazel stick was cleft and shaved to make the base and lid. I carved the lid with a taper so it is a snug push fit and the pot makes a satisfying subtle ‘pop’ when opened. The handle is another piece of hazel with a round tenon carved onto it which passes through the lid and is fixed with a tiny peg inside.
I started with practising axing with the left hand which was a brilliant experience. I kept swapping the axe back and forth to feel the action in my dominant hand and try to copy it in the other. The key is to relax and be confident at which point I started to feel comfortable with it and quickly got the accuracy to start axing spoon blanks with both hands. After that I worked on some simple knife cuts and straight away saw the benefits. It was also really fascinating to have to ‘learn’ to carve again, examining the way my hands normally work together and transpose this across to the other side. It’s a brilliant exercise for anyone thinking of starting to teach spooncarving. You also see how the ‘non-dominant’ hand is doing just as skilled work in holding and manipulating the spoon while adding support to the cut.

