The Mind Behind the Miniaturist - Jim Larson

by Pam North

Jim Larson lives in the San Juan islands, between Washington state and Canada. He first became interested in miniatures when he was given a very old dollhouse kit, of terrible construction. with pieces missing and no instructions. “All sense of scale was disproportionate,” he related, “ with stairs that were too narrow and too steep, rooms too small. I drove 150 miles to the nearest dollhouse shop, where I saw on display an award-winning dollhouse. I knew I could do better. My career was in residential construction, a family business that had exposed me to the design and building of high-dollar homes. I also had been tutored by a master craftsman in furniture making, cabinet construction, and custom trim work.”\
All those skills were a bridge to Larson's leap into miniatures in 2007, and he immersed himself completely. Soon he had created the H.M.S. Miniscule, a five-feet-long ship inspired by the Titanic. “That ship was completely handmade from everything I could get my hands on,” Larson recalled. “I even knocked down boards from my fence to get wood!” He then built a 5.5-foot tall lighthouse, Porters-Pointe, with intricate detailing, fully functioning searchlight, bronze bell, furnished keeper's cottage, and dock with blinking lights. Another piece, named Ama (female Japanese diver of the 1930-40s era), showed the hardships of cultivating and harvesting pearls, and, simultaneously, the beauty beneath the sea's surface, with bright corals and reef fishes. Indian Summer evoked memories of a simpler time, with children playing beneath a tree, converted into a Wild West outpost, in the long shadows of early evening's fading sun. Another, Geraldine's Corner featured a handmade steam car.
“In between these massive builds, I worked on smaller pieces infused with humor,  and works that paid homage to different time periods and genres. I like to tell of simpler, happier times - 'Americana'. I had only a small 10' by 10' workroom until last year, but now I have a big shop, with 40 feet of tables overflowing with projects.”
Larson described his process: “I grasp a concept from thin air, make a quick sketch, and then start cutting materials. Every miniature I make is handmade: furniture, dolls, divers helmets, birdhouses, trellises, arbors with vines, doors, chimneys, cabinetry, windows, canopy beds, bakers racks, fireplaces, mantles, lamps, carts, bicycles, copper spoons, cookware, apothecary chests, treasure boxes, lobster pots, marine block and tackle, working nut crackers, trees, ponds, waterscapes, fountains. “I'll make everything and anything, if asked. I've been told my efforts are unique. There already are many talented artists making ordinary things. so I'm trying to be recognized for offering something different. There are no secrets to my work - no tricks, no magic fairy dust. I take my time, work each component carefully, and if the result doesn't satisfy me, I pull it apart or start over. I have focused, purposely, to making things out of the ordinary, and celebrating that. My recent work shows 'wear', to appear used over several decades. I like that sense of history.”
“I offer custom work, making what one can't find, or what one wants made better. All is for sale - online through Etsy, Facebook, and my website; in stores in Washington, Oregon, and California; and at shows. My prices range from $30 to $20,000, and show goers sometimes gasp at some of my prices, not understanding the labor involved. Actually, I often am making far below minimum wage on the hours I have spent in creating some pieces. Whether people take the opportunity to own my art or choose to bypass it, I'm honored that they looked, whatever the outcome. I am working to lower costs, but it defies the idea of truly handmade.” 
“The hardest element to this is scale. Almost all dollhouses are too small; the rooms, ceiling heights, overall lengths and widths. Understanding that, I actually ensure that my work is within scaled measurements by going a hair smaller. A standard house will look 'off' unless such provisions are made.” 
He shared his views on the future of miniatures: “Miniatures have existed and endured for hundreds of years, but I worry. They never before have had to compete with electronics and social media; young people are drawn to the latter. We artisans, along with collectors and parents, hold the destiny of miniatures in our hands. If children are not exposed to the warm moments shared over the completion of a miniature room, how will the next generations be able to relate? While some people are new to dollhouses; most remember having one as a child, or recall a family member or friend having them. Kids need to be reminded of the joys of shared play, make-believe, and creativity.”
“I am unsure what is next for my designs. I am working on getting more exposure, and I will continue to hone my skills in working with the tiniest of items; large, museum pieces; and dabbling in a mixture of soft steam punk/industrial-age themes, all in 1/12 scale. Time will tell. I create each piece with an instinct as to how it should look, and what story it is trying to convey. My need to tell the stories behind my work drives all, and I will continue to tell them to all who will listen.”