Honouring the Bungendore Wood Works Gallery

I first entered the Bungendore Wood Works Gallery (BWWG) in 1992, an experience that profoundly changed my life. I decided to dedicate myself entirely to the craft of woodworking, recognizing it as a form of art for the first time. This realization is common among many Australian contemporary fine woodworkers who have visited the BWWG since its inception in 1984. Even Owen, our recent addition at age 21, saved his money at 14 to travel from Melbourne to visit the gallery.

I had the privilege of apprenticing under David MacLaren OAM, the owner and Artistic Director of the gallery. His workshop was a veritable treasure trove of opportunities, and I consider those years to be some of the most fulfilling and challenging of my life. David was not only an exceedingly generous teacher but also wholly committed to the craft.

The BWWG, often in collaboration with Australian Woodreview Magazine, organized pivotal exhibitions that significantly impacted the woodworking landscape in Australia. For many emerging artisans, being selected to exhibit at the BWWG represented a major career milestone, signifying ultimate recognition as a maker. The gallery evolved into the de-facto epicenter of Australian woodworking.

Australians have experienced the presence of the gallery for 40 years, making it easy to take its significance for granted. However, international visitors consistently regard the gallery as exceptional, acknowledging that there has never been a comparable institution dedicated solely to fine woodcraft on a global scale.

The BWWG provided a platform for makers of all types to develop and establish their presence in the market and culture, significantly contributing to the craft’s collective growth. This is a central reason why Australian craftspeople excel on the international stage.

The Dunstone Design team honours David’s achievements, and thanks the many, many gallery staff who have served their time representing Australian makers over the past 40 years.

When the gallery closes, it will mark the end of a chapter in Australian woodcraft history. It is David’s time to rest. It will be imperative for others to step up and fill this void. David’s extraordinary vision and commitment set a high standard, and it is challenging to envisage another individual having the courage to take similar commercial and artistic risks.

As I reflect, I contemplate new ways for makers to reach their audience and share their creative narratives. While respecting the legacy of the BWWG, it is essential to recognize that it was a product of its time. Galleries remain crucial, but future galleries are likely to evolve with subtle yet significant differences.

In my initial draft of this article, I focused on the impending loss to our craft. However, my staff found it rather somber, so I rewrote it from the perspective of “what next”? I advised them that if they disliked the situation, they should strive to change it. It is incumbent upon us to create something new rather than simply mourn what we are losing. We cannot alter the past, but we can certainly influence the future. As a maker, my thoughts are always on what lies ahead…

David Mac Laren OAM. Image by Peter Hislop, courtesy of the QBN City News.