Daniel Pay
Chainsaw Carver
Est. 2004
Based in London
Covering Surrey, Hertfordshire, Buckinghamshire & Berkshire
Daniel Pay
Chainsaw Carver
Est. 2004
Based in London
Covering Surrey, Hertfordshire, Buckinghamshire & Berkshire
The sculpture is created directly from the stump itself, right where the tree once stood. In some cases, the timber can also be reused elsewhere in the garden—whether for another feature or something more functional.
Embrace is a Shou-sugi-ban version of “Celestial Union,” where two figures entwine in a cosmic embrace, symbolizing unity and harmony. The charred finish enhances the wood’s natural grain, creating a striking contrast between light and shadow. This piece blends modern artistry with traditional craftsmanship, embodying love, eternity, and the cosmic forces that connect us all.
“Tangled Through Time” is a captivating chainsaw carving, crafted from a weathered eucalyptus tree stump. The twisting, organic form evokes the passage of time, with each curve and knot representing the complexities of life’s journey. Its intertwined design symbolizes the seamless connections between past, present, and future, while the natural grain of the eucalyptus adds to its timeless beauty
I started working with trees immediately after school, building my experience from the ground up with one of the UK’s largest tree companies, as well as other reputable firms in and around London. Everything I know has come from training alongside experienced, respected arborists and carvers in the industry—something I’ve always valued.
Over time, I realised that if I wanted to bring tree work and carving together, I’d have to do it on my own. That’s where Arbor Barba came from—combining both with equal importance from the very beginning.
With over 20 years in the industry, I know that good tree work isn’t one-size-fits-all. It’s about understanding the tree, the setting, and the people around it—and using experience to get the right result.
Carving has always been a big part of that. When I work with timber—especially trees still in situ—there’s a more personal side to it. I’ve seen plenty of trees come down before their time, and it’s never something I take lightly.
When I carve, there’s a connection with the tree from the start right through to the finished piece. My experience in the industry has taught me a lot about different timber species—their age, how they’ve grown, and the environment they’ve been in—and that all plays a part in guiding the process.
Often, the tree itself influences the direction of the carving—working around knots, cavities, and the natural shape of the timber. It’s something I’ve always found fascinating, and it makes each piece feel personal.
That connection has only grown stronger over the years, and it drives a lot of what I do. When everything feels right at the end of a sculpture, there’s a sense the job’s complete—not just for me, but for the tree as well.