370 different species of wood raw linseed oil
five exhibition boxes together: 450 x 183 x 62cm
one box: 183 x 52 x 62cm
one block: 24 x 5 x 1cm
Collection: Jack Ginsberg


Translated from Willem Boshoff’s original thesis in Afrikaans titled ‘Die Ontwikkeling en Toepassing van Visuele Letterkundige Verskynsels in die Samestelling van Kunswerke, Beeldhoukuns en Grafiese Kuns deur Willem Hendrik Adriaan Boshoff’ submitted for his National Diploma in Technology, Witwatersrand Technikon, November 1984, page 72

370 Day Project

  • During the period of one and a half years when I was planning to start 370 DAY PROJECT, I collected about 30 species of the better-known kinds of wood in South Africa. After I had begun the project on 12 September 1982, I undertook a diligent search in all South Africa's wooded regions to find 340 more species.


    I compiled a list of names of the species, the persons from whom the wood was obtained and the places where it was found. I also recorded the date on which the wood was processed, not only on the list but on the block of wood concerned. Other important information on the list of woods used is classified as follows:

    • Each entry takes up two lines.

    • The key numbers appear before each entry and correspond with the alphabetical list.

    • The botanical name of each species consists of two or three references: the name of the genus under which the plant is classified, and the specific name of the plant, which can be divided into subspecies (subs.) and variety (var.).

    • Commonly-used synonyms appear after the botanical name, and I frequently add English and Afrikaans local names.

    • The origin of the species is mentioned at the end of the first line, and in the case of South African species the abbreviation 'S.A.' is followed by the national tree number.

    • Problems and queries are marked with a question mark.

    • The general information in the second line ends with the date on which the wood was processed.


    The dimensions of each wooden display box are a replica of the surface measurements of a coffin. The dimensions of a coffin are derived from those of a six-foot man. By implication the man is 'buried under all the work'.


    The surfaces of the blocks are divided in two, and I repeated this division on the surface of the coffin. In this way it becomes a book within a book. There are 365 days in a year. The figure closest to 365 which is divisible into a square is 370 (37 x 10), which is why there are 37 blocks in each of the ten rows across. The 3 and the 7 of 37 add up to ten. The ten rows down and the 37 rows across are therefore numerically related.


    For the portable storage files, I used seven rows of seven blocks each, which could be easily stored in the files. I used these to help with the weekly and daily checking and counting of all the blocks. A 'workshop file' of the same size as the others fitted comfortably into a shoulder bag that could be taken along on any journey or outing.


    To prepare for the daily routine required to manufacture the artwork (which involved specific tasks to be completed according to a set schedule every day), I gathered different kinds of wood from forests and gardens all over South Africa. Although I cut dried wood, I did not cut any wet wood, but sometimes I collected wet wood from municipal skips and dried it. I spent a great deal of time on correspondence, travelling, field work, packing and dispatching pieces of wood. I cut the dry wood into blocks, filled cracks, and in some instances glued pieces on.


    The blades most suitable for the special carving instruments I used came from Italy. As these were not available in South Africa, I had to make do with locally-bought blades, which had to be sharpened regularly on a grinding-stone. This meant that I had to carry a grinding-stone and a bottle of grinding oil with me in my portable toolbag.


    After the 370-day span committed to the work had begun, I often had to work under difficult circumstances. For example, I had to do the first day's carving in a toilet in Venice, so as not to annoy my travelling companions. I worked on trains, on aeroplanes, in parks and in every conceivable type of building. At times I would continue through the night, as the work undertaken for each day had to be completed that same day. It never happened that work had to be carried over.


    The daily routine I followed is outlined below.

    I would start the day at any time from 3 a.m. onwards by writing the date in a diary from China, using reddish-brown ink.

    I would select a kind of wood for the day according to the kind of day I was expecting. For example, on quiet days I would start with hardwood. I would write the name of the wood species below the date in my diary.


    Then I would mark out and trace 12 blocks in the diary to represent the six resolutions and six evaluations I had to accomplish that day.


    I would consult the key to all the symbols and, in anticipation of what could happen that day, make six routine-breaking resolutions.


    I would then mark out 12 smaller blocks with their margins on the square wooden block, using a measuring block made in advance for the purpose. I took it everywhere I went, to ensure that all blocks were the same size.


    I would transfer the symbol design onto to the block.

    After spreading a dust cloth over my lap and knees to collect all the chips, I would carve the relief design to the left or the 'morning' side of the block to a depth of 2mm.


    I would use an awl to punch holes into the relief background to form a texture. I did not use a hammer with the awl, as it would have been too noisy and too slow. However, as I had to exert a great deal of pressure, the awl slipped on 35 occasions, causing hand or leg wounds.


    At the end of the morning's routine, which lasted between an hour and a half and three and a half hours, I would pack all tools and work pieces into the work file and shoulder bag, which I carried around everywhere, in case it might not be convenient to return home.


    I would carry out the resolutions I had made and codified on the block in the morning during the remainder of the day.

    Once I had implemented the resolutions, I could begin my evaluation. This session would usually take place at night, when everybody else was asleep.


    I would once more enter symbols into the diary and transfer them onto the wooden block, using a German two-pfennig coin and an English penny instead of a pair of bulky and heavy compasses.

    Again I would carve out the design and collect the chips for inclusion in the final storage box of the project. I would also punch in texture-holes, as before. This work would be done on the right-hand or 'evening' side of the block.


    I would finish each completed sculpture block carefully, use a hammer to punch in the date of that particular day on the reverse side, and polish the work with a cotton cloth I kept in a plastic bag.

    After I had put away the work file with everything inside, I would perform a mental exercise reflecting on the experiences of the day. I would think of a summarising slogan, saying or appropriate thought, and write it in the diary below the planning notes I had made in the morning.


    The work on the evaluation session would also take from one and a half hours to three and a half hours, which meant an average work day of three to seven hours. To calculate the total time the project took to complete, I would have to include the time spent on searching for and preparing resolutions, and for the carving of each block.


    The work of making 370 DAY PROJECT was mentally and physically demanding, because it progressed slowly and required a great deal of thought. To counter the mental exhaustion and also to make myself sufficiently fit to keep up the pace of the project while coping with my normal duties, I would jog 32 kilometres daily, running early in the morning and late in the afternoon. This exercise regime, coupled with the discipline required for 370 DAY PROJECT, enabled