Juror’s Award – Through the Woods: Around the Block

This basket bowl was created for the Through the Woods: Around the Block exhibition at the The Lubeznik Center for the Arts, Michigan City Indiana, February 18th through April 10.

The Through the Woods, Around the Block show had the following requirement:

Starting with 2 identically sized indigenous, non-endangered solid wood blocks measuring  6x6x3, artists were asked to create an original piece from one block while leaving the other untouched.Juried by renowned woodturners Cindy Drozda and David Nittmann, the resulting exhibition of wood and object will provide a thought-provoking visual “before and after.”

When I first heard of this exhibit I knew that the basket look veneer work that I’ve been doing was perfect, fortunately I had two blocks of spalted maple left – one to transform and one to leave as is.

This construction uses seven parallels alternating (3,4) between layers of veneer. The parallel arrangement causes the visual energy to change from the tightly woven end view to a calmer side view. This is analogous to the experience of lathe work where cutting changes every quarter turn – side to end, easy to hard.

Material is Ash – It’s funny that its from one of the largest trees that I’ve ever worked from logs (4′ + diameter!) and I milled the 588 match sticks from it. The sicks are .16″ square. The full cube is 7″ on each side.

It’s an Op-Art piece. This photo really demonstrates the effect (Thanks to Ed Kelle). If the piece is placed high with light behind it you get many different effects as you walk around it. Straight on it appears to just be a grid, it morphs through several different spherical appearances depending on the angle.

This piece was shown in the exhibition Masters of Contemporary Wood Turning at the Vale Craft Gallery in Chicago November 5th – November 27th 2010.

A locking mechanical box with a unique opening mechanism made entirely of wood with the exception of the magnets use for the locking. There are 44 distinct wooden parts in the construction of this box.

This one has been in under development for a while, when I created “Safe Box” I was disappointed that the combination lock was actually just a single position latch. I have been trying to design an actual lock using the same magnet based concept as in “Safe Box”. This is the result. I can thank Keith Tompkins for putting the idea of a planetary gear set in my mind 3 or 4 years ago when I first showed him “Safe Box”.

The locking mechanism consists of a planetary gear set where each of the planet gears remain locked in place until the correct combination is set, one digit for each gear. Once the combination has been dialed in, the planet gears can rotate freely. At that point, the box is opened by spinning center handle which is attached to the sun gear, this action causes the threaded lid which caries the sun and planet gears to slowly unscrew. The ring gear is attached to the box. The picture to the right shows the lid about halfway unscrewed.

Every box should have some intrigue or mystery – I made the hole for the handle just large enough to give one a tease as to what’s inside. You can just see part of the gears and knobs, the indicator plate has copper leaf applied to provide a little sparkle when glimpsed through the cover.

Mahogany will darken considerably over time, for this reason I chose to detail the outside of the box in copper leaf. I am quite fond of patterns that appear to be woven or knotted. I used an Islamic knot pattern on “Safe Box” and I wanted to carry that idea forward with this box – the lid pattern is derived from another Islamic style knot. For the sides of the box I chose a Japanese pattern that I was particularly attracted to. I liked the way the outline forms ‘Y’s that appear to be woven and the way the increased density of the small triangles creates a contrast that almost makes it appear as if the wood in the triangles is lighter.

I suspect that there were other subconscious right brain reasons for choosing this pattern. When I got to the point of making the handle and adding the indicator, I realized that the exterior pattern can also be seen as a reference to the three dials, particularly the view through the cover where you can only see a small sector of each. The dial indicator plate is also represented in the exterior pattern. At this point I decided to carry this theme just a little bit farther by adding the pink ivory detail to the handle – it has the same “Y” shape of the exterior. I would love to claim that this was all the result of careful planing but it is more a matter of being present during the process of creating.

Baschoue sans nom

Baschoue sans nom (Basket without name)

One the my first “basket” works. Since spring of 2009, I have been experimenting with “supported turnings” – various ways of turning delicate structures by using a temporary medium for support. I call this particular process – where I assemble stacks of thin veneer and then turn them – “basket work”. Ribs or spacers are placed between the layers of veneer in an alternating pattern causing the layers to undulate, creating the appearance of being woven.  Different arrangements of  ribs between the layers creates interesting variations in the appearances of the resulting piece.

The construction of this piece started with a 3 1/4” thick spalted maple blank. I then cut 27 slices of veneer being careful to maintain order and orientation. From the same blank ribs or spacers are milled creating 1/8” x 1/16” strips. The veneer layers are stacked with the ribs arranged radially 3 out of 6 per layer, alternating on each layer. The end result is the woven layer look. Maintaining the sequence and alignment makes appear that perhaps it is still a solid piece of wood.

This piece has been accepted for the AAW Maple Medley – An Acer Showcase exhibition which will premiere in Hartford CT at the 2010 AAW Symposium.

A collaboration with Harry and Wendy Besett of Vermont Glass Workshop (http://vtglass.com).

I met Wendy & Harry at the annual League of NH Craftsmen fair on Mount Sunapee. Last August, I asked if they were interested in doing a collaboration.

The collaboration  was more challenging than I expected. The original idea was to simply use one of my bamboo spherical boxes as container for one of their glass spheres. The biggest challenge was creating a stand that would support the substantial weight of the glass but still allow for the light and shadow effects caused by the pierced bamboo sphere.

One of the ideas was a gimbal that would allow the sphere to be tilted, at the same time I was thinking of Victorian era iron work girders and beams – this stand is the result. To create the “beam work” effect I sandwiched bamboo sticks between two layers of ash veneer (sparsely) this allows you to look right through the beams when viewed looking straight at the ends of the sticks.

The glass sphere is one of Wendy’s “Stillness Spheres” it has the 3 silhouettes embedded on one side and a single silhouette opposing on the other. When you view it the glass acts as a magnifier enlarging the silhouette on the farther side – this creates a 3 against 1 larger/smaller effect that is quite provocative. It can be seen as one big person embracing three small ones or as three big people intimidating one small one.

It was tough to balance the regular formal appearance of the bamboo with the human natural feel of the glass. I think that led me to think of the elegant engineering of the industrial age.

Winner of 1st Place at The 30th Annual Box and Container Show, Northwest Fine Woodworking

This striking pierced bamboo box is constructed from approximately 1000 individual sticks. The sticks are packed loosely  in a hexagonal or honeycomb pattern,  turned to a sphere and then hollowed. The result is a delicate open mesh box that brings to mind a mosque dome or Victorian tile pattern.

While some would consider this a form segmented turning, I arrived here from a different direction. I’ve been experimenting with constructing my “raw” materials with negative space or voids built in. These blanks are then turned into a final form.

I have always collected small bits of archaic technology.  About 20 years ago I acquired a small cube corner retroreflector. Having been interested in optics in high school (I ground my own telescope mirror), I was familiar with the principle of the corner retroreflector but had never had the chance to play with one. To my surprise, I discovered that when you look into a cube corner retroflector you always see your own eye (of course!). I realized that this was an experience that was alien to most people (as it was for me the first time) and a bit of a magic trick or wizardry, hence it was added to my collection.

I had been thinking about incorporating the retroreflector in a work for some time. This past spring, I attended a week long class with Bonnie Klein and Jacques Vesery at Arrowmont – a perfect opportunity to finally make the piece.

The design (if you can call it design) of the 3rd Eye evolved during it’s creation. The front face of the eye is carved to look like a six-leaf iris, modeled from a 20(!) leaf  iris that I acquired from an old bellows camera. The hollow inside was made deep enough hold the retroreflector with a little extra space. I decided that the iris top would have knurling on it to allow the device to be opened. This much was determined from the outset.

I kept the device in my pocket most of the week. I found small magnetized and polished hematite at one of the tacky shops on the strip in Gatlinburg, three of them fit together inside and stuck to the metal case of the retroreflector. I liked the way they added to the already unusual weight (because of the glass). I had the humorous idea that the hematite stones were “memory stones” that stored whatever it was that 3rd eye was observing. I started taking myself seriously and describing it as an earnest child would, to virtually anyone who would listen.  At this point it took on a life of its own.

Obsessing about the device

• It can be turned on or off
• It will get hot when it runs
• You need to hold it carefully
• It is a serious device, although not entirely clear what it does.
• It’s not perfect

Inspirations for details

The start button on the back has that dull, much used red Bakelite color to it. As a kid, I would tear old equipment apart and save whatever I deemed might be useful. This button is surely from that collection. It’s worn out. If it was an actual button it would make an unsatisfying click when pushed and you wouldn’t be sure it actually worked.

The heat vents are styled from my memories of the vents on the backs of VW vans and bugs. We had a camper that manged to make trips all over the Northeast. I also attempted to rebuild a bug. I got as far as pulling the seats out and stripping the interior.

The writing looks child like. This was not intentional, my actual handwriting is quite bad. That coupled with attempting to write with a burning tool resulted in what you see.  I was rather worked up about trying to be neat and quite disappointed (at least initially) with the results. It should have been intentional.

The revision (1.b) is a reversal of “Saturn B1″, an early booster in the Apollo project, a fascination of which certainly help lead me to a professional career as a software engineer.

Form

I’d like to make some comments about the structure and meaning of this piece.

When you look into the cube corner, you see the 3 lines that intersect, the edges of the cube. In between these lines are the reflections on each face of the opposing cube edge. The result is the perfect division of a circle into six triangles. I’ve intentionally carried and referred to this 3/6 symmetry in the details on the rest of the piece.  There are 6 leaves on the iris, 3 vents with 3 finger holds between them, 3 sets of external component details above each of the 3 vents, but I have broken this with the 2 text panels. Whether or not you are aware of it, this has an impact on how you perceive the piece when you pick it up and handle it.

Finally, an aspect that I appreciate in the work of others is an intense layering of intent and meaning. Once this piece found it’s direction, it was “easy” for me to just pile on references to my past. It astounds me looking at it now, how much additional layering and meaning is there. It literally contains something I collected at a tech job 20 years ago, at a company that is long gone. I decided that the stones were memory stones and then proceeded to unconsciously fill this piece with details from my memories.

I was also completely unaware of the mystical meaning of “third eye” at the time I made this piece -

“In the Indian tradition, it is referred to as the gyananakashu, the eye of knowledge, which is the seat of the ‘teacher inside’”

I don’t think of this piece as being that serious, but when you put as much as you possibly can into a work, other people will pick up on it.

To the left is the first production Tantalus.  Over the course of two years (spring of 2006  – fall of 2007), I produced and sold thirty five copies of this model.

This device combines a Tantalus – a 19th century device that allowed one to keep the liquor safe from the servants and a Cryptex – a fictional 15th century device that allowed one to keep secrets for centuries, from the best selling book “The Da Vinci Code”.

After reading the description in the book, I set out to build one in wood.

The Cryptex Tantalus has 8 rings consisting of 16 segments each. These rings rotate around a central cylinder that is large enough to contain most 750ml wine or liquor bottles.

When the rings are properly aligned, spelling the codeword, the cylinder can be separated into two parts allowing access to the bottle.

The symbols on the rings can be anything, the most practical being letters, that when arranged vertically spell the secret word unlocking the secret of the Cryptex Tantalus.

I make each Tantalus by hand in my workshop, customizing the font and code for the client – no two are exactly alike. They are produced in small runs of 10 or less and each is signed, numbered and dated. Your satisfaction of quality and detail is guaranteed. I stand behind my work. Much like a fine musical instrument, the Tantalus is carefully constructed and finished with a durable lacquer finish. As with most finely made wood craft, the Tantalus can be repaired unless significantly damaged,  if properly cared for it should survive for centuries!

The images on this page are of the first model Tantalus which is no longer in production. However, in the near future I will begin a production of the next model. If you are interested in owning a Tantalus in the future, please contact me. I will put you on the waiting list and let you know when production resumes.

I also accept commissions for one of a kind Tantalus made from specific wood species with custom details, limited only by your imagination and my skills.

Nest is the beginning of a new exploration of ideas. It consists of twigs collected in the New Hampshire woods, gathered into a small bundle which is mounted in a cherry base. A steep parabolic hollow is then turned in the sticks, creating a “nest” that holds the egg.

The egg is actually a box, turned from a branch collected from the side of the road. It was turned around Easter time, inspired by the plastic eggs in which one hides candy.

Every box must have a surprise inside. This egg contains a small, fully functional top of my own design, which can be worn as a pendant. The top hangs from a clip and allows for hours of spinning pleasure.

I like the fact that this piece is three separate works, made over the course of three years.

Commissioned pine burl bowl for Judith Rutty-Godfrey.

This beautiful burl bowl is an unusual piece. This burl was part of a collection of odd chunks of wood that had been gathered over the years by Judith’s father. When I received it it was dusty, none of the burl figure was visible and the back was (mostly) covered with bark.

I had never heard of turning pine burls, nor had any of my wood-turning peers–common wisdom is pine burls are not worth the trouble. I was concerned that, being pine, it would be quite pitch-y and hence unworkable. I told Judith that I was not optimistic about creating a worthy piece.

When I later cut away the patina of age and saw the actual figure I was astounded. The light color and sandy swirls are amazing. I meticulously picked away the bark from the back side, trued up the face and turned a shallow offset bowl with a slightly raised lip. I think the fact this burl had been stored for years, aged if you will, contributed to the success of this piece.

If you have a chunk of a large door yard  tree or a burl (pine or not!) that you would like turned into a family heirloom, feel free to contact me as I would be happy to assist you.