Stories are central to how we understand Wharton Eshericks complex and expansive life and career. Eshericks artistic practice is grounded in storytelling. His early, block-printed illustrations helped tell the stories of other writers, while later prints, illustrations, paintings, and sculptures told stories of Eshericks life in the studio and his communities, some funny, some sad, some remarkable, all true. Eshericks first woodblock prints, completed as illustrations for the publication Rhymes of Early Jungle Folk, told stories of the universe and how we came to be a part of it. We are drawn in by sculptural works like First Born, made for the birth of Eshericks son, Peter, or Oblivion, which captures a moment of story drawn from Hedgerow Theatres production of Son of Perdition in 1937. Even Eshericks non-pictorial furniture is thick with narrative; every music stand or library ladder holds the tales of its making and use in an embodied, material way. So many of the stories we are able to share about Eshericks life, relationships, values, and continued influence are available because theyve been generously passed down. Personal narrative, archival materials, oral histories, continued research, and WEMs community, who share their stories about the impact of this special place, paint a more complex picture of Esherick with each telling. Stories allow us to make sense of the world, find new perspectives, and explore how we want things to be. We understand ourselves through the stories of others, and everyone has an impactful story to tell. For the Wharton Esherick Museums 29th Annual Juried Woodworking Exhibition, individuals are invited to share an artwork that centers a story that matters to them and incorporates wood in some way. In a nod to the multifaceted modes through which we know Eshericks story, jurors look forward to seeing entries that range from pictorial to abstract and which may draw from different storytelling modalities, including visual, written, spoken, and sung. Whether entrants stories roots are personal, familial, cultural, or historical, well-known or little heard, jurors look forward to sharing their creative voice and vision with WEMs audiences. Selection Jurors B.A. Harrington, artist and associate professor of woodworking and director of the wood center at Indiana University of Pennsylvania (IUP), and Adam Manley, associate professor of furniture design and woodworking, San Diego State University, and Furniture Society board president, along with Emily Zilber, WEMs director of curatorial affairs and strategic partnerships, will select the finalists for the exhibition from the images submitted using a blind jury process. It is strongly recommended that crafts people submit high-quality images to ensure the jury sees the piece at its best. The competition is open to both emerging and established makers across all artistic disciplines, so long as wood is part of the finished piece. Entered works should be available for the duration of the exhibition. Jurors will evaluate the submissions based on inventive approaches to the prompt, craftsmanship and technical proficiency, aesthetics, and other considerations as determined by the jury. The deadline is Jan. 6, 2023. To learn more about the exhibition, call 610-644-5822 or visit www.whartonesherickmuseum.org. The Wharton Esherick Museum, located just outside of Valley Forge Park in Malvern, Pa., is the handcrafted home and studio of Wharton Esherick (1887-1970), an internationally significant artist and leader of the Studio Furniture Movement. Esherick worked primarily in wood and extended his unique forms to furniture, furnishings, interiors, buildings, and more. His motto, If it isnt fun, it isnt worth doing, is evident in the joyful expression of his work. A National Historic Landmark for Architecture, his hilltop studio/residence has been preserved much as it was when the artist lived and worked there. The Wharton Esherick Museum (WEM) is celebrating its 50th anniversary (1972-2022).