| Artist Statement | I strive to express the dynamic nature of wood through the use of clean lines and simple curves. Like all carving, woodturning is a subtractive process and a revelatory one. My primary focus is form, in this case, a curve. I approach each piece of wood with the desire to find the unique curve that enlivens it. I bring thoughts, emotions, and skill to the process. The wood brings unique qualities, including size, color, grain patterns, bark inclusions, and density. In the end, this synergy results in elemental forms that embody the energy of the wood.
My finished product is a bowl: a basic shape of tremendous power. Bowls of all materials have been a personal interest for most of my life. The bowl is the archetypal shape of fertility, the goddess, and the womb. It is the bearer of creative energy. The curve of its profile is a visual portion of an infinite curve of energy connecting us with the cosmos. And the circle formed by the bowl’s edge represents unity and infinity. When I create a closed, womb-like shape I feel I am conjuring a nurturing energy, while an open, flatter vessel supports a release of this life giving, creative force. Combining this spiritual form with the complex nature of wood is magical.
As much as I love what I do, I’m well aware that nothing I could ever create would equal the importance of a living tree. Therefore I use only local wood salvaged from previously downed trees, primarily walnut, cherry, and maple. I do not embellish the surface of the wood but prefer to let the form and materials stand on their own. After working the surface to a velvety finish, I treat the wood with sustainable, non-toxic materials. The majority of my pieces are treated with walnut oil, carnauba wax (made from palm fronds), and beeswax. For pieces made of spalted wood, I occasionally use tung oil (a nut oil) thinned with orange oil.
I’ve found guidance and inspiration for my work from the organic design principles set forth in Lovelock’s Gaia Charter, the simplicity of design espoused by the Bauhaus movement, the instruction and philosophy of woodturner Roger Jacobs, and the work of woodturners Rude Osolnik and James Prestini. My training and practice in figure drawing and ceramics has been surprisingly relevant to this medium because of my emphasis on the use of a simple curve to build a solid form. (Return to Top) |
Gallery Affiliations Appalachian Fireside Gallery, Berea, KY; 2003-present Main Cross Gallery, Lexington, KY; 2005-present Damselfly Gallery, Midway, KY; 2006-present Kentucky Artisan Center Gallery, Berea, Ky; 2006-present KY Museum of Art and Craft, Louisville, KY; 2007-present | Related Education and Workshops Ohio Valley Symposium, October 2003 Arrowmont, Gatlingburg, TN; woodturning workshop, August 2001 University of KY, Lexington; figure drawing, 1991 Charlotte Community College, Charlotte, NC; pottery studio, 1981-88 Charlotte Art League, Charlotte, NC; figure drawing studio, 1981-88 College courses in figure drawing and painting, 1975, 1978, 1979 | Juried Exhibits “2006 Bluegrass Biennial” Clay-Poole Young Gallery, Morehead, KY "A Southern Presence” 2006, Loudoun House, Lexington, KY | Other Exhibits KY Museum of Art and Craft; Hollidazzle, Invitational, Dec. 2007 Main Cross Gallery, Lexington, KY; Two-person Show, Sept. 2007 Main Cross Gallery, Lexington, KY; One-person Show, Sept. 2005 Loudoun House, Lexington Art League; Members Open, 2004 | Other Education University of KY, Lexington, graduate work Gerontology, 1998-2000 University of KY, Lexington, MS Speech-Language Pathology, 1993 University of NC, Greensboro, BS Mathematics, 1980 Central Florida University, art courses, 1975 | Other Job Experience UK Medical Arts and Photography, multi-media programmer, 1997-98 ORCCA Technology, Inc; video editor, programmer; 1996-99 Speech-Language Pathologist, private practice settings, 1994-99 IBM Corporation, programmer, 1981-90 (Return to Top) |
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