A raccoon seems to be squeezing out of a log, its small paws reaching beyond the opening. The illusion belongs to woodcarver Mori Kono, whose animal sculptures turn familiar woodland encounters into carefully composed objects. The surrounding wood remains visible, making the creature appear to share a home with the material it is carved from.
The studio’s purpose behind the animal carvings
The 2021 account described Kono’s work as largely commissioned, with individual pieces shaped around a customer’s brief. The studio explained the ambition behind its woodland animals:
"If our completed works of art are able to contribute to society […] to have a deeper feeling and respect towards nature and the wild, then that is our greatest dream!"
It also invited readers to follow works in progress, not just the finished sculptures. The original MK Carving posts below preserve that connection with the studio and distinguish the maker’s own presentation from an image circulated without an author.
The earlier process description identified power tools for the larger carving stages and a small handheld chisel for fine work around eyes, fur and feathers, followed by color to complete the figure.
Who is Mori Kono?
Kono is a Japanese Canadian artist associated with MK Carving in British Columbia. His studio’s work includes wildlife sculpture as well as decorative and architectural carving. An interview about the animal series describes the use of woods including cedar, alder and birch.
The process combines tools for removing larger amounts of wood with finer carving and finishing. Small marks can suggest fur or feathers, while carefully applied color makes features such as eyes and paws stand out against the surrounding grain. These are crafted sculptures; the photographs should not be mistaken for animals emerging from living trees.
The detail that makes the animal feel present
Notice where the figure crosses the edge of its wooden enclosure. A paw projecting beyond the opening, or a head angled toward the viewer, makes the pose feel less like a flat decoration. The log becomes part of the composition instead of an anonymous pedestal.
That balance between convincing anatomy and a visibly ordinary material also appears in Andoni Bastarrika’s sand animals. Brian Mock’s metal creatures take the idea in another direction, letting recognizable scraps form the body. Looking across the three approaches is a lovely reminder that lifelike sculpture depends as much on proportion and posture as on hiding the material.
Posts and process videos
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
A post shared by MK Carving (@mkcarving)
Original references and creator profiles: MK carving & sculpting; Instagram; Facebook.
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