Difficult to say from where the inspiration originated for this modern abstract gate. The geometry of Origami coupled with a hint of Cubism infused with a realm of Looney Tunes.

Gate #210 might be better considered as a perfume, with a scent that emanates throughout, but whose pupillary focus cannot be so easily defined.

Charles deferring to the ergonomics of the easel for the inlay. The #210 is an abstract gate design to be either loved, or hated.

Light and dark toned western cedars to create depth and various planes.
Black African Wenge for it’s rigid density and color.
Yellow agate marbles.
The modern gate #210 is a surprise of twists and turns and upended geometry. 

The Marbles within the modern gate #210 are reminiscent of the Where’s Waldo books. Summon the kids, or grand kids, and tell them to find the 3 marbles hidden within the photo at the top of this page.

In-Progress

As a start, the gate design features acute and obtuse angles, dictating everything to come.

Joining the primary segments of the gate design with small Wenge tenons and a 1/4″ gap. Introducing a continuous Wenge spline that will ultimately serve to anchor whatever else spins off these two primary segments.

The primary wenge spline of modern gate 210 is set to a pair of Wenge oval bases, which will have to be mirrored elsewhere at some juncture.

Upper right corner three angles combining toward an abstract canvass.

Lower left the first look at some method of vanishing perspectives that will ultimately become the initial focal point–where the eye gravitates on first glance. Here I have in mind a cross between abstract, and Looney Tunes. By this I mean an aesthetic that surpasses the realm of known and expected geometry to something that suspends reality.

The lower left effect following half a dozen attempts to accomplish a mind’s-eye goal of blending cartoon illustration within a platform of acute and obtuse angles. An eccentric gate with Looney Tunes overtures. 

More confusing to create than I had imagined. The receding perspective is less apparent, and the cartoon effect is nominal. Nevertheless, it becomes the anchor, the footing, to where the eye begins it’s slow scrutiny of making sense of what is essentially nonsense.

The upper right corner and how the use of the Wenge splines and secondary spline allow the contrast and separation of what otherwise would be slabs of geometrical planes gone amuk.

Cutting, marking, and fitting pieces to the modern front gate as dry-fits into an accurate layout. By accurate we mean their alignment. If that alignment skewers by a pencil line, then the actual joinery and glue-up will eventually be amiss for the permanent assembly process.

An out-of-square frame set with 3/4″ stock in a darker hue of cedar as a background.

It helps to photograph the composition and look at it with a perspective not possible while actually working on the piece. Similar to an impressionist painting; when viewed up close it offers no clues to what can actually be seen from a more distanced perspective. An apology offered for the confusing background board; the abstract gate design itself has enough going on without the distractions of the wafer-board. 

We’ll throw in the matching continuum of the shop railing, created  a few weeks after the completion of the modern gate #210. .