Emma Chorostecki is one of 43 fine woodworkers who are showcased in the exhibition Making a Seat at the Table: Women Transform Woodworking. We conducted a brief interview via email to find out more about her work.
Why is this exhibition important to you?
I would echo Katie Hudnall’s experience and say this is the best woodworking show I’ve been a part of. The caliber of the other makers, some of whom first inspired my interest in woodworking, is pretty phenomenal and I feel honoured to be showing alongside them. From Deirdre and Laura to everyone working at the Center for Art in Wood, it’s been a really positive experience. This show feels different than other shows I’ve been in, a more communal feel. Even though I’ve never met most of the other makers, there’s a kinship. The timing of the show is also quite poignant, as it lines up with the centenary of the women’s suffrage movement in the States. Not only is it going to mark history in that poetic way, but also it is intersectional and non-binary inclusive. I am thrilled to be a part of something that makes a point of being progressive in this way.
What advice would you give your younger self about getting into woodworking?
As I still consider myself new to woodworking, the biggest thing I’ve had to learn is patience. First you get good, then you get fast.
Which piece in the exhibition stood out the most to you?
The show is so well-curated, it’s hard to choose! Even though each piece and maker has different methodologies, it’s still so cohesive. I’ve been a fan of Yvonne Mouser’s ‘Curb and Curved Corner Brooms’ for a while so I was really excited to see them included in the show. Also Teresa Audet’s, ‘Smile Honey’. I wish I could carry that around with me in Toronto.
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