John Cederquist
John Cederquist (b. 1946) is a woodworker in San Juan Capistrano, CA, who references traditional forms but uses surface painting to create illusionistic effects. Because his surface painting explores perspective and depth, his works appears to be 3-dimensional.
His imagery is heavily influenced by contemporary culture: comic strips, television, advertising, and other graphic imagery as well as traditional Japanese woodblock prints. He received his BA and MA from California State University, Long Beach. His work can be found in the Museum of Arts and Design, Craft and Folk Art Museum, Renwick Gallery, Smithsonian American Art Museum, and Mint Museum of Craft and Design, among others.
Zen and the Art of Painting with Wood (Mickey’s Mandalas series), 2010 
Indecision of Upholstery, 2010-2012 
John Cederquist, Architectural Elements – Drapery Series, 2010-2012. Gary C. Zuercher photograph. Trompe l’oeil master Cederquist paints with inlay to create furniture that floats between reality and deception. Grounded in furniture-making traditions, his philosophical pieces are perfectly crafted to challenge the viewer’s perception of depth. He has explored various subject matter over the decades, ranging from American politics and popular culture to Japanese art and propaganda. Cederquist questions the fundamental nature of structure, craftsmanship and decorative arts history in his recent series of sculptural works. “People pay more attention to images than real life.” 
Zen and the Art of Painting with Wood by John Cederquist 
Special Delivery from Japan (This is Not Lunch tray series), 2006-2007 
Taste of Fish, Sweet Smell of Blossom (This is Not Lunch tray series), 2006-2007 
Measure Once, Cut Twice (Mickey’s Mandalas series), 2010. With a great sense of humor matched by impeccable craftsmanship, Cederquist is never one to miss a good visual pun or joke. In these more recent pieces, he often riffs on craft mottos and sayings by giving them physical form. The chatoyance of specifically selected woods that Cederquist bleaches and dyes appear like entirely different materials, such as, silk, steel and water, which adds to the effect of his optical illusions. 
Measure Twice, Cut Once (Mickey’s Mandalas series), 2010. In this series of flat sculptures inspired by the cosmic mandala diagram, Cederquist moves away from furniture to play with the idea of art that is intended for walls. In his “Mickey Mandalas,” the formal structure is an assemblage of wooden planks in a truss-like formation that is reminiscent of Japanese or Craftsman style architecture. The iconic black arm and flawless white glove of America’s most beloved mouse repeatedly pops through the planks to execute various craft process in a clockwise formation. Poking self-deprecating fun at the cartoonish nature of the handmade, these pieces allude to the issue of skills that are no longer valued or understood and perhaps as outmoded as American illustrated characters from a bygone era. 
Phillips or Standard? (Mickey’s Mandalas series), 2010 
Just Plane Waves (Mickey’s Mandalas series), 2010 
John Cederquist, Folding Chair 
John Cederquist, Sashimi Side Chair, 1997. M. Lee Fatherree photograph 
John Cederquist, The Game Table, 1982. Mike Sasso photograph 
Installation from “John Cederquist: Deceptions” 1983. Jeffrey Gates photograph
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