NEW:-MASTERS NCIS DITO cK EXPANDING THE BOUNDARIES OF WOOD ARTdownloaded from www.cro-wood.coma DEDICATION CRARY This bok i dedicat to dhe memory of Dons Z. Meiach r who saw wood art for what it was before any 1G Coun © 2008 by Fox Chapel Publishing Compary: Ine Now Mase of sin ised in 2008 JOHN KELSEY nee by Fox Chaped Publ Paut. Hanaxe Meetin, Texry, 1947 NDSAY HESS New masters urning : expanding che by Terry Marcin & Kevin Wallace. = Bas Publ 2008. davies of wood att arg, PA : For Chapel SBN; Y7B-I-S6S2337S-1 ( LW wodk 1. Wallace, Kev, ‘Allsutmnissions for reference only! cotta 806 cus the other great boaks frm Fox Chapel Publishing, ovo fiad 4 reuiler near you, call tolldiee 800-457-9112 o¢ vst ws FCP Note to Authoee:\Ve ste always Jacking for talented authons 9 write new books ino fF woodwoekin and rested crafis, Pease send» brief Peg Couch Acquistion Editor, 970 Broad Street, East Peters, PA E7320 Fron Risaa with be Einbeaqes er wap ale pala ante astonCONTENTS M FLYNN: Striving to fied the Pevfese Line L_PAUL FENNELL: Technical and Creative Challenges Are Always Mingied . 1a HARVEY FEIN: Consider texture, Pattern and Inclusions 19 BUTCH SMUYS: Keeping Jt Simple fs the Best investment, 25 PETER HROMEK: You Find These Shapes Everywhere in Nature 39 WILLIAM MOORE: The Contrasting Relationships of Wood and M VAUGHN RICHMOND: Technical Challenges Are the Mast Excitin ROLLY MUNRO: The Lathe Creates Armature for Maier Sculptural Work HANS WEIssfLoG: Totally Focused While Turning JACQUES VESERY: When 1 Geri a Groove, Watch Out coven “iraulfennelioste MICHAEL HOSALUK: fan Not Afraid to Venture Out of My Comfort Zone 75 ider(OFthe seo) 2007 MICHAEL MODE: The fatimate Incerpay of ea Hand, and Eye : al eae he” DEWEY GARRETT: Tae Lae Paces a Limit, Yer Offers Enatess Possibilities... «BO more of Fennell's work, BETTY SCARPING;: It's Loke Discovering Hidden Treasure . . . 7 see page 13. Photo oui tideait CHRISTOPHE NANCEY: A Symbolic Picture of the Living Process 103, VIRGINIA DOTSON: Shaping Layered Wood Reveals Compositions of P 109 Tene RON LAYPORT: Susface Wik Will Not Cover Up Poor Form us dose ficou, Weisel Sos Malar tens NEIL SCOBIE: Thinkiag of Running Water... - 11 sole 25497 MARE GARDNER: Drawn ta the Rhythm of Repeated Carved Patterns 127 wworkresemblesrusted MARILYN CAMPBELL: Pushing the Designs Wile Keeping Them Simple . . 133 tronorancient POREry. STEVEN KENNARD: Technique ls dmportant, But Secondary to Getting There 199 trata co cn work see pace 169 LOUISE HINBE RI: The Lathe Gives My Work Rhythm aed Aalance 145 THIERRY MARTENON: ith Good to Work with Almast Nothing ys LAL opposite GRAEME PRIDDLE: Pacific liland Culture and the Ocear' Beauty Louise Hibbert. Saft and Pepper BINH PHO: Stories Told with Color... - its, collaboration ABO RICOURT The Ussel Was Molin Tak sae {aton, 2003. English MIKE LEE: Wood isa Jov To Work ov My Worst Nightmare ceamemechanism, DAVID SENGEL: Much Yee to Do with the Lathe lo This setot stand pepper mils ba fine trample ofproducion GLOSSARY co 194 weoreanea: Fo List OF ORGANIZATIONS z : 195 work see page 145, FURTHER READING . . 196INTRODUCTION Ron Fleming, Yama Yuri 2006. Basswood, verybes, 36" high a T'diarneter, Fleming ihe tin 8.4 vehicle or the plintect ts, whieh 2 Ife-s20. Ne says "Thad to reinvent the al-brust process ro be apply the fsker of flemings work seepage 31 Woodturning in the 21st Century During the 19605 and '70s, curned wooden bowls first came to be considered as objects of contemplation rather than simply of function. An artelike market gradually developed among collectors who considered such bowls too beautiful to use, Turners of vision started to ignore tmdition, and to make pices that broke many of the old “rules” of the craft. It was a quiet revolution, but a strangely disconnected one, because many participants had no fea what the ethers were doing, If anyone scad about woodwurning, it would hare been in books emphasizing the trade values of techniques, not of innovative shapes or aesthetics, In 1976, the American writer Dona Z, Meilach frst documented the work for what it was—the beginning of a new arc movement, In her book, Grating Small Mood Objits as Farctinal Seber, Meilach assembled much previously scattered history and pur it into a lager content. She was probably the frst person wo deseribe turning as “sculprural” and to refer 00 turners as “artists” Meilach also ineodiced people who would shape the new field, such as Melvin Lindquist, Bob Stocksdale and Canada’ Stephen Hogt Meilachis work fact that there we np jerted many artists to the others like them, and also inspired many newcomers to join the movement, Meilach continued publishing insightful books on the fields of wood art and general crafi, more than 100 in all, unel her death in late 2006, During the 1970s and into the ‘80s, the thenenew Five Haaduorkirg magazine published! a series of articles that neached an enormous audience around the warld and changed the future of turning forever The series incleded stories on turning delicate bowls of exotic timber by Bob Stocksdile; heavily spaleed wood, previously unheard of, by Mark Lindquist; green toning, technique practiced by vurners fie hundreds of yeats, by Alan Suite; inlaid wood with hietcch finishes by Giles Gilson, and, most significant of all, a 1979 article by David Ellsworth (page xi) on hollow turning. Ellsworth Laid down his challenge to the turning world: “Bowl terning is one of the oldest eralts It is also among the least developed as a contemporaty art orm." Ellsworth was good at explaining the technical aspects of his work—lathe specifications, speed, tool—bat he also introduced language and 3 philesophy that had never before been heard in relation to taraing: “The concentration involves all senses equally, and the center off focus is transferred to the tip of the tool” Ic was heady stuf, just right for che tirmss, hit the mark in a culture ready for rule-brcakers. In 1980, Dale Nish of Provo, Utah, published the milestone book: Amis:STEPHEN HOGBIN: BREAKING QUT OF ROUNDNESS Stephen Hogbin was born and cedueatedl im England, chen & immigrated t Canada in 1968, to teach design. in 1974, he astonished the craft world with an audacious exhibition timed. to coincide with a World Craft Congress meeting being held in Toronto that year: Hogbin was, pethaps more than any other person, responsible for upsesting the tyranny of the circular form thachad dominated the turning Stephen Hoobiris 1974 Toronto world for thousands of years. exhibition astounded wroodturners and the lager craft wot ac, i As the woodturning wrterand Hogbin'sFrstboak, educator ark ir hese Woodurning: The Purpaie of _-_‘“Hegbin was 20 yeatsahead of his time, and now, 30 years late, ho Is the Object: was publhedin the