Members’ Galleryaawcontentsource.org/aaw_cs1_pdf/AW2906p50-55.pdf50 American Woodturner December...

50 American Woodturner December 2014

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Members’ GalleryJerry Johnson, WashingtonMy interest in woodworking started as a child. I watched my father, an expert craftsman, do wonderful things with fine furniture, including marquetry and restoration for collectors and museums. I started with my first lathe when I was a teenager. Later, as I neared retirement, I once again found a fascination with lathe-turned objects and have been making craft and art objects for the past sixteen years.

I like to try new and different methods in my woodturning, such as surface texturing, multi-axis turning, and embellishing with carving. Recently, I have experimented with various processes to apply surface decorations: In addition to adding texture, I have used acrylics, with some emphasis on applying interference paints.

Beneath the Tides, 2013, Maple, 9" × 6" (23cm × 15cm)

Terebra Ingenti (enormous auger shell), 2014, Myrtlewood, bronze,

53" × 24" (135cm × 61cm)

Orbicular Obsession, 2014, Maple, 16" × 26" × 4" (41cm × 66cm × 10cm)

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Copyright 2014, 2016, American Association of Woodturners. All rights reserved.

51woodturner.org

G A L L E R Y

As a woodturner, I strive to create distinctive, unusual objects, but inspiration toward this goal can be elusive. I am grateful for the discov-eries of Robert J. G. Craig (AW vol 29, no 4, “Wedge Assemblies Offer a Tangential Twist”), as they have provided me with untold inspiration. I think his methods are pure brilliance.

Robert’s discoveries regarding tangential wedges in an array less than 360 degrees are revolutionary to segmented work. They open new opportunities for design and construction. Pictured here are some of my attempts at using Robert’s techniques, and my head is buzzing with ideas for future creations.

Candy Stripe, 2014, Maple, dyed veneer, ebony, black onyx cabochon, 2¼" × 6" (6cm × 15cm)

Memory (in remembrance of Robert J. G. Craig), 2014, Maple, dyed veneer, ebony, black onyx cabochon, 7¾" × 3⅜" (20cm × 8.6cm)

Onyx Rays, 2014, Yellowheart, dyed veneer, black onyx cabochon, 1¾" × 4½" (4cm × 11cm)

Spiral Illusions, 2014, Walnut, maple veneer, 3¾" × 4⅞" (10cm × 12cm)

Tangential Twist, 2014, Maple, dyed veneer, 2⅛" × 3⅞" (5cm × 10cm)

Bruce Berger, California




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Hapu Fern Garden, 2013, Norfolk Island pine, pyrography, 11½" × 17" (29cm × 43cm)

Pueo: Hawaiian Owls from Ridge to Reef, 2013, Norfolk Island pine, 4" × 20" (10cm × 51cm)

Members’ GalleryJohn Mydock, HawaiiOne of my approaches to embellishing wooden vessels is to use the age-old technique of pyrography. My learning process has led me from burning a few simple images on bowls to intricate designs that metaphorically shape-shift into birds, fish, tribal designs, and vines of interconnectedness to all life here in Hawaii.

Bill Rosener, OklahomaI love turning wooden bowls. I have explored various types of rims, bases, and shapes over the years and eventually tried adding handles. Some of the handles have come from items found around the house, like a leather strap from an old purse, a bathroom tissue holder, or an embroidery hoop. Others, such as the metal handles, I fabricated using an acetylene torch and hammer.

Untitled, 2014, Elm, metal rod, 4" × 13" (10cm × 33cm)

Untitled, 2014, Pecan, embroidery hoop, 3½" × 9" (9cm × 23cm)



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G A L L E R Y

Corey Anderson, ConnecticutGraeme Priddle inspired me to incorporate the disciplines of turning, carving, branding, and coloring into my work. As I was driving home one evening past a tree-rimmed res-ervoir, I decided I would use these methods to honor trees. I would allow the wood to continue being a “tree” by creat-ing new tree forms. Some of my “Tree Bowls” also incorpo-rate sandblasting as a means of creating texture.

(Top left) Tree Bowl 1, 2001, Butternut, 4½" × 9" (11cm × 23cm)

(Bottom left) Tree Bowl 2, 2012, Sassafras, 7" × 14" (18cm × 36cm)

(Top right) Winter Orchard, 2008, Apple, 4" × 9" (10cm × 23cm)

(Bottom right) Tree Bowl 3, 2013, Sandblasted sassafras, 6" × 9" (15cm × 23cm)

Untitled, 2014, Elm, metal rod, 3½" × 7½" × 7½" (9cm × 19cm × 19cm)

Untitled, 2014, Maple, bathroom tissue holder, 5" × 18" (13cm × 46cm)




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Members’ GalleryRaymond Puffer, New YorkI enjoy turning both functional and artistic pieces and with each object attempt to present nature’s materi-als in a pleasing and artful manner. I would get bored if I focused on just one style, technique, or type of wood. Being open to new and different forms of the craft keeps woodturn-ing interesting for me. For more, visit RP-Woodturner.com.

Circles and Squares, 2014, Wenge, American holly, 7½" × 11½" (19cm × 29cm)

Geisha Pose, 2013, Manzanita burl, antique ivory, 10" × 8" × 2" (25cm × 20cm × 5cm)

Aztec Urn, 2013, Jatoba, wenge, maple, 11" × 6½" (28cm × 17cm)

Natural Edge Burl Bowl, 2000, Big leaf maple burl, 2¾" × 17" × 13" (7cm × 43cm × 33cm)



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G A L L E R Y

Joy Moss, GeorgiaI love miniatures and have been a member of the National Association of Miniature Enthusiasts (NAME) for thirty years. I began turning wood about ten years ago, when I took a weekend course and then four classes at the John C. Campbell Folk School. I soon joined the AAW and three local clubs. With my 16" lathe, I was turning full-sized projects like bowls, plates, and tops but eventu-ally decided to turn small scraps into miniature items like jewelry.

I began making small goblets, plates, candlesticks, candles (out of white Corian®), and bowls. Using twigs for natural edge bowls was fun. If you can turn a regular-sized item, why not turn it in miniature? I decided to make items representative of the work of my favorite turners and house them in a Miniature Gallery and, later, a Collector’s Room. As part of a display at our local symposium, I gave credit to every turner represented in my Gallery, though woodturners said they could tell from looking at the pieces who inspired me. Miniature Gallery, 2013, Maple, cherry, walnut, ebony, Corian®, 8" × 8" × 8" (20cm × 20cm × 20cm)

Collector’s Room, 2014, Maple, cherry, walnut, ebony, Corian®, 10" × 13" × 10" (25cm × 33cm × 25cm)



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