2015 ANNUAL BENEFIT AUCTIONS -...

2015 ANNUAL BENEFIT AUCTIONSJUNE 26-27

2015 ANNUAL BENEFIT

AUCTIONSJUNE 26-27

Preview additional images, learn more details about each work, and bid online in advance at

http://www.auction2015.woodturner.org.

http://www.auction2015.woodturner.org

1 AMERICAN ASSOCIATION OF WOODTURNERS 2015 ANNUAL BENEFIT AUCTIONS

TABLE OF CONTENTSACKNOWLEDGEMENTS ............................2

WHO WE ARE ...........................................4

INTRODUCTION ........................................5

EOG LIVE AUCTION ITEMS ......................6

POP AUCTION ITEMS ............................. 18

SCHEDULE OF PUBLIC EVENTS ............27

EXHIBITIONS..........................................28

AAW ANNUAL BENEFIT AUCTIONS INFORMATION ......................29

EDUCATIONAL OPPORTUNITY GRANT (EOG) PROGRAM .......................31

PROFESSIONAL OUTREACH PROGRAM (POP) ....................................35


ACKNOWLEDGEMENTSBoardKurt Hertzog, President

Art Liestman, Vice President

Rob Wallace, Secretary

Greg Schramek, Treasurer

Jeff Brockett

Denis Delehanty

Kathleen Duncan

Louis Vadeboncoeur

Louis Williams

AdvisorsJohn Hill

Al Hockenbery

Dale Larson

Jean LeGwin

Binh Pho

Cassandra Speier

David Wahl

Stan Wellborn

Cover: Alain Mailland, Derviche

StaffPhil McDonald, Executive Director

Jane Charbonneau Administrative Assistant

Linda Ferber, Program Director

Kim Rymer, Communications & Marketing Director

Tib Shaw, Curator

Sophie Wozniak Administrative Assistant

American WoodturnerJosh Friend, Editor

Symposium CommitteeJeff Brockett, Chair

Al Hockenbery

Demonstrator Selection - Ken Evans, Art Liestman, Kathleen Duncan, Mike Mahoney

National Liaison - John Ellis

Videographers - Ana Lappegard

AuctioneersJohn Hill

Rob Wallace

Educational Opportunity Grants CommitteeRob Wallace, Chair

Denis Delehanty

Kurt Hertzog

Professional Outreach Program (POP) CommitteeJ. Paul Fennell, Chair

Trent Bosch

Andy Cole

Barbara Crockett

David Ellsworth

Al Hockenbery

Art Liestman

Dave Long

Mike Mahoney

Binh Pho

Curt Theobald

Malcolm Zander

222 Landmark Center | 75 Fifth Street West | St. Paul, MN | 55102-7704877-595-9094 (toll-free) | 651-484-9094 | woodturner.org

woodturner.org


Contributing Artists We gratefully express our thanks to all of the extraordinary artists featured in this catalog for the time, energy, and creativity they have invested in the work they have so generously donated to our 2015 Benefit Auctions. We hope you will enjoy viewing their work on pages 6 to 26 of this catalog. Additionally, we would like to thank the following exceptional artists for their generous contributions of work auctioned in 2014. All contributing artists provide vital support to AAW’s woodturning education and outreach programs, and without it, these programs would not be possible.

2014 Educational Opportunity Grant Benefit Auction ContributorsDavid Ellsworth

J. Paul Fennell

Douglas Fisher

Carole Floate

Carl Ford

Dewey Garrett

Dick Gerard

Cynthia Gibson

Michael Gibson

Scott Hackler

Stephen Hatcher

Joe Heirhaes

Frank Amigo

Donna Zils Banfield

Garry Knox Bennett

Pat Booker

Peggy Bookey

Christian Burchard

Bruce Campbell

Jim Christiansen

Jason Clarke

Andy Cole

Cindy Drozda

Gorst duPlessis

Beth Ireland

Mike Jackofsky

John Jordan

Ed Karch

Jim Keller

Ray Key

Dale Larson

Art Liestman

Isaac Ludwig

Alain Mailland

John Mydock

Christophe Nancey

Bill Ooms

Binh Pho

Graeme Priddle

Betty Scarpino

Mark Sfirri

Julian Sherrard

Steve Sinner

Lee Sky

Louis Vadeboncoeur

Malcolm Zander

2014 Professional Outreach Program Benefit Auction Contributors

Nick Agar

Jerry Bennett

Dixie Biggs

Ben Bolinger

Marilyn Campbell

Jim Christiansen

Sharon Doughtie

J. Paul Fennell

Clay Foster

Satoshi Fujinuma

Dewey Garrett

Ron Gerton

Cynthia Gibson

Michael Gibson

Michael Kehs

Steven Kennard

Ron Layport

Alain Mailland

Rolly Munro

David Nittmann

Bill Ooms

Graeme Priddle

Tania Radda

Joey Richardson

Jon Sauer

Liz Scobie

Neil Scobie

Jennifer Shirley

Claudine Thiellet

John van der Kolk

Gerrit Van Ness

Derek Weidman

Hans Weissflog

Helga Winter

Molly Winton

Andi Wolfe


WHO WE AREWhat is woodturning? Woodturning is a unique form ofwoodworking that dates back toancient Egypt. Woodturning is doneon a lathe, a machine that holds andspins wood securely while it is shapedwith sharp carving tools. Historically,woodturning has been used to createfunctional objects like chair legs,candlesticks, and bowls. Today, lathe-turned work is also understood as an art form and vehicle for individual enrichment, creativity, and self-expression. It can be found in galler-ies and museums around the world. Pieces may be functional, ornamental, or even sculptural. With a modest

learning curve, woodturning engages people from age 8 to 108, and the skills acquired last a lifetime.

Who is the AAW?The American Association of Woodturners (AAW) is a nonprofit 501(c)(3) organization, headquar-tered in Saint Paul, Minnesota, dedicated to advancing the art and craft of woodturning worldwide by offering opportunities for educa-tion, information, inspiration, and community to those interested in turning wood. Established in 1986, AAW currently has more than 15,000 members and a network of over 350

local chapters globally representing professionals, amateurs, artists, hob-byists, gallery owners, collectors, and others. The AAW maintains the single largest collection of wood-turning information anywhere in the world, and its award-winning journal, American Woodturner, is the foremost publication on the art and craft of woodturning in the world. To learn more, visit woodturner.org.

MissionThe mission of the American Association of Woodturners is to provide education, information, and organiza-tion to those interested in turning wood.

http://woodturner.org


Warmest greetings, art and craft enthusiasts!

The 2015 AAW International Woodturning Symposium in Pittsburgh, Pennsylvania, is fast-approaching and excitement is building. After months of planning and countless hours devoted by contributing artists, we are thrilled to unveil the work in our catalog for one of our most important events of the year - our Annual Benefit Auctions.

Each year, the AAW symposium brings together woodturners from around the world to teach and learn, to celebrate creativity and enthusiasm, to exhibit their diverse body of work, and to recognize their collec-tive contributions to the vitality of AAW’s educational, nonprofit mission.

Woodturning is an ancient craft known to many cultures worldwide, but the field of contemporary wood art is relatively new and rapidly growing. Few could have imagined how far and how quickly the craft would evolve. So much is owed to a die-hard group of visionary woodturners who met on the back porch of the Red Barn dormitory at the Arrowmont School in October 1985 to discuss the idea of forming a group. Reflecting upon the significance of the accelerated growth of woodturning in the 1960s and 1970s, founding member David Ellsworth notes, “The era was ripe for some form of service organization that could address the collec-tive needs of a growing field that included novice-to-advanced levels of turners, gallery owners, collectors, and museum curators.” With a fledgling flock of inaugural members, the AAW was incorporated the fol-lowing February. Twenty-nine years later, we number 15,000 members and are still growing worldwide. Our educational mission, outreach, and organization of woodturning programs are buoyed by our network of over 350 affiliated local chapters.

Whether you plan to visit us and experience our exhibits in Pittsburgh, or if you plan to participate in our live auctions via our remote, online auction site, we are absolutely thrilled to present you the world’s premier exhibition and sale of contemporary sculptural and functional works in wood. The Educational Opportunity Grant (EOG) and the Professional Opportunity Program (POP) benefit auctions are integral to our educational mission. Proceeds from our auctions have made it possible for individuals to attend artist-led workshops and classes. Auction proceeds finance learning programs delivered through our chapters, many of which are directed toward youth, returning veterans and their families, and woodturners facing physical barriers. The auctions also provide financial assistance for emerging artists and recognition for artists who have made substantial contributions to the field. All of this is central to our continuing dedica-tion to promotion of the woodturning craft to broader audiences around the globe.

It is often said there are few secrets among woodturners. That rich spirit of generosity lies at the core of the explosive growth in the craft. We are very proud and highly indebted to our artists for giving so much of their time. We hope you will be amazed at the seemingly endless display of artistic expression in our catalog, and that you find encouragement in the few selected inspirational stories describing accomplish-ments made possible through our auctions. We are truly thankful for your consideration in supporting our artists and our meaningful educational causes.

Respectfully yours,

Phil McDonaldExecutive Director

Kurt HertzogPresident, Board of Directors

INTRODUCTION

6 AMERICAN ASSOCIATION OF WOODTURNERS 2015 ANNUAL BENEFIT AUCTIONS | EOG LIVE AUCTION

20Binh Pho and Cynthia Gibson

Hope FloatsBox elder, acrylic paints

12" × 4" × 3½"

Estimated retail value: $3,000

10Rudolph LopezUntitled East Indian rosewood 17" × 13" × 2"

Estimated retail value: $600

30Dennis PaullusWild Cherry VesselCherry8½" × 12½"


EOG LIVE AUCTION ITEMS - FRIDAY JUNE 26

40Mark Sfirri

1991 Multi-Axis ExperimentOak

13½" × 4" × 4"



50Betty Scarpino Carved Maple Bowl Maple, swamp privet 1½" × 7"


60Bill Ooms

Brown and Silver EggCocobolo, sterling silver,

African blackwood4" × 2" × 2"


80Jacques Vesery

and Alain MaillandSprite

Holly, granite, acrylics11" × 10" × 2½"


70Mike MahoneyThree Nested Bowls Mormon poplar 12" × 5" (largest)



120Hans Weissflog

Shifted Bowl Cocobolo

4" × 55/16"


90Curt Theobald Lattice Cherry, ebony, walnut, pau amarello, pernambuco, purpleheart 7½" × 4"


110Michael Gibson Decay Pear 3½" × 5"


100Mike Jackofsky and

Georgianne Jackofsky Chaos

Maple, hand burned and shaded

3" × 4¼"



160Jon SauerParlor Top

African blackwood, Turkish boxwood, bamboo, betel nut

7" × 3" × 4"


140Alain Mailland

Abysses Hackberry

19" × 14" × 14"


130David EllsworthAsh Pot Black ash burl 8" × 10" × 9"


150Michael Hosaluk Frank’s Orb Birch, birch bark, glue 6½" × 16" × 6½"



190Dale Larson Oval Bowl Pacific madrone burl 3¼" × 10½" × 15"


200John Jordan

Walnut Vessel Walnut9" × 9"


170Helga Winter Inside of Joy Madrone, dye, oil, paint 5½" × 12¾" × 81/8"


180Art Liestman

They Went BeforeBigleaf maple burl, fire,

pyrography, acrylics 6¼" × 6" × 6"



220Michael KehsPlated Sphere

Basswood, poplar5" × 5" × 3"


240Alain Mailland

Derviche Arbutus

27" × 14" × 14"


210Jim Christiansen The Promise Maple, acrylic paint 22" × 13" × 8"

Estimated retail value: Not specified

230Christian Burchard Dark Baskets Madrone burl 11" × 16" × 14"



260Women in Turning: Dixie Biggs, Janet Collins, Sherry

Hockenbery, Donna Zils Banfield, Linda Ferber, Sandy Davis/Cynthia Gibson, Camille Wall, Sharon Doughtie, Janice Levi,

Sally Ault, Betty Scarpino, and Margaret LospinusoCrate Full of Eggs Various materials


275Michael Foster Scherk Tower IV

Red Maple9" × 5" × 5"


250J. Paul Fennell La Mer Carob 9" × 7¼"


270Stephen Hatcher Skyview Walnut burl, curly maple, mineral crystals, resin, interference paints, colorfast dyes, lacquer finish4" × 15½" × 15½"



320Mike Jackofsky

Buckeye Burl Hollow VesselBuckeye burl

5" × 6½"


310Graeme Priddle ‘Waka Iti’ (Small Canoe) Monterey cypress, acrylic paint 57/10" × 31/5" × 22/5"


280Ray KeyInverted Hollow FormSpalted box elder burl 4¼” × 6¾”


290Chris Ramsey

Sweetwater WalkerSugar maple burl11” × 15” × 15”



360Andy Cole

Nesting InstinctNorfolk pine

12" × 16" (largest)


340Ron Gerton

Making Waves Curly maple, maple accents

16" × 1½"


330Marilyn Campbell Boat Padauk, epoxy resin, M3 metal composite 1¾" × 3¾" × 21/3"


350Jacques Vesery Springtime Fossil Cherry, oak, peridot, acrylics 3" × 3" sphere, 5" × 5" base



385Bill OomsPink and Silver EggPink ivory, sterling silver, freshwater pearl, African blackwood32/5" × 14/5" × 14/5"


370J. Paul Fennell Wave Patterns African sumac 8" × 6"


380Michael Mode

Perfectly SpicedPurpleheart, bloodwood, yellowheart, wenge

5" × 9" × 9"


390Steve Sinner and Joe Meirhaeghe

Untitled #168 Spalted walnut

17¼" × 81/8"



430Curt Theobald

Rhapsody in Blue Dyed wood, ebony, veneers

6¼" × 2¾"


410Frank Amigo

Small Shell Box with Threaded LidBubinga, delrin

6" × 3"


400 Sharon Doughtie and Dale Larson Sphere Cherry, padauk4¾" × 4¼" × 4¼"


420Jim Rinde Charcoal Vessel Charcoal from pecan wood3½" × 4" × 3½"



450Geoff Whaling

Diamond Lil Jarrah, red gum, Queensland silver ash veneers

81/10" × 211/25"


440Thomas Wirsing Fiddleback Maple in the RoundBig Leaf Maple (Acer Macrophyllum), Tung oil, urethane 13½" × 3"





18 AMERICAN ASSOCIATION OF WOODTURNERS 2015 ANNUAL BENEFIT AUCTIONS | POP AUCTION

20Merryll Saylan

4 FigsVarious woods, polychromed

8½" × 6" × 6"

10Betty J. ScarpinoTurn a SpindleWood, epoxy7" × 8" × 2"

30Cliff Guard HarmonyWhite oak, ebony, antler, copper, dye7½" × 5½" × 5½"

POP AUCTION ITEMS - SATURDAY JUNE 27

40Garry Knox Bennett

Untitled #33Wood, brass, paint7½" × 4½" × 4½"


60Rolly Munro

Segmented Copper Inlaid BowlNew Zealand grown English walnut,

pigments, wax, Danish oil3½" × 7¼" × 7¼"

50Jay Shepard Moon GlowWood, acrylic paint, lacquer, selenite3½" × 74/5" × 74/5"

70Stephen HatcherRaptureBigleaf maple, zircote, wood fiber veneer, paua shell, epoxy, lacquer5½" × 10" × 37/10"

80Binh Pho

To Be or Not To BeBronze, silver, maple, acrylic paints

5" × 6½" × 6"


120Louise Hibbert

Macrodontia Box IIEnglish sycamore, African blackwood, reclaimed 22ct gold, sterling silver,

stainless steel, epoxy resin, acrylic resin, gold leaf, ink6" × 2¾" × 12/5"

110Robert Cutler#711 “Connected”Woods, metals, antler4" × 8" × 2½"

100 Michael Gibson

Old Blue at CampPear, mild steel

8" × 8" × 8"

90Jeannette ReinWhorl Hybrid IISwan Valley Woollybush, currant bush, leaf vein, sterling silver7" × 7½" × 7½"


140Malcolm Zander

Dressed For DinnerPink ivory wood, compressed cherry, freshwater pearls

7¼" × 5¼" × 6¾"

160David SengelPatent ModelSteel, maple5¾" × 8" × 8"

130Curt TheobaldRivers of Steel Cherry, steel, Damascus steel3" × 6"

170Dewey Garrett

ZebrasUrethane resin

½" × 5½" × 5½"


190Jim Christiansen

SeasonsCherry, acrylic paint, gold

8" × 8" × 8"

210Marc Ricourt

UntitledWood, pigment

8" × 8"

200Ron GertonShall We DanceBox elder burl, bronze7" × 4" × 5"

180Sharon DoughtieConundrumMahogany, cherry, Micronesian cordage, rawhide, leather, paint5" × 7¼" × 7¼"


220Trent BoschAllegheny ConnectionMaple, steel8" × 8" × 8"

240Max BrosiFreedom of SpeechGreen oak, steel77/10" × 5½" × 4"

230William Moore

FunnelMadrone burl, copper, blackwood

7½" × 6" × 8"

250Bill Ooms

Black and Silver EggAfrican blackwood, maple, brown ivory wood (from Dale Nish wood collection), sterling silver, Russian

CZ stone, fresh water pearl4¼" × 2¾" × 2¾"


280Marilyn Campbell

After MidnightWalnut, holly, epoxy resin,

M3 metal composite, leather, dye8" × 55/8" × 3¼"

270Dixie BiggsAll She Wanted Was The MoonMaple burl, compressed cherry, copper, acrylic paint8" × 8" × 6"

290Rick CrawfordEaster Island Tea SetPurpleheart, western red cedar, coconut shell, blue gum eucalyptus seed pod, Cupronickel, plumbing tubing6¼" × 71/8" × 71/8"

300Jérôme Blanc

OndeAsh, ink, red dye

32/5" × 63/10" × 63/10"


320Peter Archer

Declaration HollowSycamore, dye, ink

3" × 7" × 7"

310Kimberly WinkleBinaryWalnut, polychrome poplar6" × 5" × 3¾"

340Jason Schneider

Homage to PrestiniCorrugated cardboard and plaster

8" × 8" × 8"

330Hubert LandriProcess of CreativityDamascus steel with wood8" × 8" × 8"


369Linda VanGehuchtenTrillium Sisters in Step (Bud Vases)Pardillo, ash, Tecaform plastic6" × 6" × 6"

360Benoît Averly

ScrewballOak, steel screws, nails

5½" × 5½" × 5½"

370Seamus Cassidy

Orbital 1Bleached ash, burr elm,

polycarbonate, sandblasted glass3½" × 6½" × 6½"

350Derek WeidmanPolar KinshipWood, found materials9" × 9" × 9"


SCHEDULE OF PUBLIC EVENTSOpen to the public, free admission

Photos: Andi Wolfe

Symposium LocationDavid L. Lawrence Convention Center1000 Fort Duquesne BoulevardPittsburgh, PA 15222

Benefit AuctionsBid on museum-quality works in wood. Auction proceeds support the AAW’s grant, outreach and educational programs.

Educational Opportunity Grants (EOG) Live/Online Benefit Auction• Friday, June 26 - 7:30 p.m. to

9:15 p.m. EST - 3rd Floor Ballroom

Professional Outreach Program (POP) Live/Online Benefit Auction: Creativity in Construction – A Collaboration of Materials• Saturday, June 27 - 3:15 p.m.

to 5:00 p.m. EST - Rooms 301-303

Educational Opportunity Grants (EOG) Silent Benefit Auction• Friday, June 26 - Opens 8:40 a.m.

EST - Instant Gallery, Hall E

• Saturday, June 27 - Closes 8:30 p.m. EST - 3rd Floor Ballroom

Exhibitions and GalleriesDiscover the art and craft of wood-turning. Celebrate stunning con-temporary sculptural and functional works in wood by established and emerging artists from ten countries.• Opening: Thursday, June 25 –

5:30 p.m. to 7:30 p.m. EST - Rooms 301-303

• Friday, June 26 – 9:10 a.m. to 6:30 p.m. EST - Rooms 301-303

• Saturday, June 27 – 9:00 a.m. to 4:30 p.m. EST - Rooms 301-303

Woodturning TradeshowObserve ongoing woodturning dem-onstrations. Survey state-of-the-art woodturning products, supplies, and more up close and in action.• Friday, June 26 - 10:00 a.m.

to 6:30 p.m. EST, in Hall D

• Saturday, June 27 - 7:30 a.m. to 6:00 p.m. EST, in Hall D

Charitable InitiativesReturn to the Community: Buy a handcrafted woodturned bowl for only $25 to raise money for Variety the Children’s Charity of Pittsburgh through the AAW’s Empty Bowls project. See the display of wooden boxes made by AAW members for children coping with serious illness through the nonprofit Beads of Courage program.• Friday, June 26 - 8:40 a.m. to 6:00 p.m.

EST – Instant Gallery, Hall E

• Saturday, June 27 - 7:30 a.m. to 5:00 p.m. EST – Instant Gallery, Hall E


EXHIBITIONS

Sally Burnett Michael Foster

Steve Loar “Then and Now”Guest Artist - Educator, author, and artist Steve Loar uses themes and narratives – often drawn from popular rock songs – to guide him in creating evocative, layered compositions. “Then and Now” includes early and very fresh works, all reflecting Steve’s impeccable attention to story, detail, craftsmanship, and

mastery of the fully-round composition. His col-laborations with cast-off components from noted artists in the field bring an added dimension to the exhibition for the informed woodworker.

Steve is the director of the Center for Turning and Furniture Design at Indiana University of Pennsylvania and is a working professional artist.

Creativity in Construction – A Collaboration of MaterialsAt its most straightforward, “a collabo-ration of materials” means using more than one material, but the definition also includes applied surface materi-als or unique combinations of a single base material. The theme, suggested by sculptor and former American Woodturner editor Betty Scarpino, pro-vides a leaping-off point for the 30+ participating artists, some of whom pushed their capabilities into new areas with unfamiliar materials or techniques.

Since 2007, AAW’s Professional Outreach Program (POP) has sponsored invitational exhibitions of small-scale works. The annual show brings together works by professional studio turners from many countries. For 2015, the POP Committee opened its tradition-ally invitation-only annual exhibition to a limited number of juried pieces. Jurors for this exhibition were Kate Lydon, Center for Contemporary Craft, Pittsburgh; Rachel Delphia, The Alan G. and Jane A. Lehman Curator of Decorative Arts and Design at the Carnegie Art Museum, Pittsburgh; and Steve Loar, Director, Center for Turning and Furniture Design, Indiana University of Pennsylvania.

Kimberly Winkle

Curt Theobald

Jacques Vesery: 2015 POP Merit AwardThe exquisitely carved and painted trompe l’oeil work of Jacques Vesery is unmis-takable, despite subject matter as disparate as baseballs and nautilus shells. The layered colors, small scale, and realistic detail entice viewers into a world seem-ingly inspired by nature and geometry, but with surprising shifts that are entirely the artist’s own invention. The POP Merit Award recognizes Jacques’ significant and enduring place as an artist in the woodturning field and his many contribu-tions as a teacher, mentor, and leader both within the AAW and beyond. The POP Merit Award is given to an artist whose body of work and career have contributed

significantly to the growth of woodturning as an art form. Previous recipients have been David Ellsworth, Clay Foster, Giles Gilson, Stephen Hogbin, Mark Lindquist, Richard Raffan, and Merryll Saylan.

MergingReflecting the confluence of a 3,000-year-old craft and modern approaches to design, narrative, and material, our 2015 exhibition, “Merging,” honors both the meeting point of Pittsburgh’s waterways and the essence of the AAW international sympo-sium – a venue where turners of all levels and approaches meet. The exhibition, including both invited and juried artists, reflects the wide range of ideas, techniques, and approaches being developed by both our amateur and professional members.

This year’s jurors were Stephen Keeble, former president of the Collectors of Wood Art; Michael McMillan, assistant curator, Fuller Craft Museum; and Derek Weidman, professional artist. There are two awards presented as part of this exhibition – the Masters’ Choice and the People’s Choice. You may cast your People’s Choice ballot until Saturday at 3:00 p.m. EST.


AAW ANNUAL BENEFIT AUCTIONS INFORMATION The AuctionsEducational Opportunity Grants (EOG) Benefit AuctionsWe appreciate your generous bid to support the Educational Opportunity Grants (EOG) program. Proceeds from the sale of pieces donated by our members go directly to fund educa-tional grant projects for individual turners, students, chap-ters, and community organizations. These projects expand and enrich the woodturning community and include turn-ing-related courses, equipment purchases, youth programs, and public outreach to name a few.

EOG Live/Online Benefit Auction• Friday, June 26, 2015, at 7:30 p.m. EST in the

third floor ballroom.

Items for the EOG Live/Online Auction will be on display in the Instant Gallery. The EOG Live/Online Auction will take place on Friday, June 26, 2015, at 7:30 p.m. EST in the third floor ballroom to bidders in the room and on the Internet. View the online catalog and bid in advance at http://www.auction2015.woodturner.org/.

EOG Silent Auction• EOG Silent Auction items will be on display in the

Instant Gallery area through Saturday afternoon.

• The EOG Silent Auction closes Saturday, 8:30 p.m. EST in the third floor ballroom.

EOG Silent Auction items delivered to the symposium by the attendees will be on display in the Instant Gallery area. On Saturday evening, all of the items will move to the third floor ballroom for viewing, where the EOG Silent Auction will continue until 8:30 p.m. EST, at which time bidding will close and the highest bidder will be deemed the winner.

Professional Outreach Program (POP) Live/Online Auction: Creativity in Construction – A Collaboration of Materials• Saturday, June 27, 2015, at 3:15 p.m. EST in rooms 301-303

The 9th annual international invitational exhibition of the Professional Outreach Program brings together works by 38 established and emerging artists from five continents. Pieces are on display in room 302 and will be auctioned on Saturday at 3:15 p.m. EST, both to bidders on site and on the Internet. View the online catalog and bid in advance at http://www.auction2015.woodturner.org/.

We appreciate your generous bid to support the POP’s fel-lowship grants, merit awards, Instant Gallery excellence awards, the Artist Showcase, and more.

Mark Sfirri1991 Multi-Axis ExperimentOak13½" × 4" × 4"




Auction ProceduresBidder Numbers• All bidders are

required to have a bidder number prior to participa-tion in the auctions.

• Bidder numbers for symposium attendees are included in their registration packets.

• Visitors and the general public may obtain bidder numbers in the Instant Gallery check-in area or from an auction official.

General RulesFor the live/online and silent auc-tions, the AAW assumes no risk, liability, or responsibility for the authenticity, quality, or value of the items. Estimates of values and descriptions have been made based on information provided by artists. Everything is sold “as is.”

Live/Online AuctionsBid increments are set by the auction-eer, who may vary the increments at his discretion. The auctioneer will explain bidding rules at the begin-ning of each auction. The highest bidder for any item shall be the pur-chaser. In the event of a dispute, the auctioneer shall have the sole and final discretion to determine the suc-cessful bidder or to re-offer or re-sell the article in question. Designation of your bid as the winning bid is a legal contract to purchase the item.

PaymentPurchases onsite may be paid for with cash, personal checks, American Express, Carte Blanche, Delta, Diner’s Club, Discover, JCB, Mastercard, or Visa. Purchases made online may be paid for with Visa, Mastercard, American Express, and Discover. All sales are final and accounts must be

settled by the close of the auction. 7% Pennsylvania State and local sales tax will be added to all auction sales.

Pick-UpExcept for items purchased via online auctions, all awarded auction items must be must be picked up on Saturday, June 27, at 8:30 p.m. EST in the 3rd Floor Ballroom, unless other arrangements have been pre-arranged.

ShippingIf you wish to ship your auction pur-chases, the UPS Store will be available in the Trade Show at Booth 123 until approximately 2:15 p.m. EST on Sunday, June 28, 2015, for your packaging and shipping needs.

Live Auction Preview and Online Auction• Live auction items may be previewed in

the Instant Gallery or online at http://www.auction2015.woodturner.org/

• Remote bidding will take place at http://www.auction2015.woodturner.org/

Christian Burchard Dark Baskets Madrone burl 11" × 16" × 14"



31 AMERICAN ASSOCIATION OF WOODTURNERS 2015 ANNUAL BENEFIT AUCTIONS | EDUCATIONAL OPPORTUNITY GRANTS

EDUCATIONAL OPPORTUNITY GRANT (EOG) PROGRAMAAW’s Educational Opportunity Grant (EOG) program offers individual turners, students, local chapters, and community organizations, grant funding for educational opportunities that expand and enrich the woodturning community, including turning-related courses, equipment purchases, youth programs, and public outreach, to name a few.

The EOG program has awarded thousands of dollars for worthy educational projects as a result of the sale of works donated by exceptional woodturning artists. These annual grants are reliant upon the generosity of bidders, and ultimately, the proceeds of the annual EOG Benefit Auction. A successful auction provides greater EOG grant funds to be awarded, and has a more profound, lasting impact on the woodturning community.


ENRICHING

Transforming Young MenThe Tennessee Association of Woodturners (TAW), an AAW chapter, leads ongoing woodturn-ing workshops with students of the Narrow Gate Foundation, a non-profit Christian organization that offers young men opportunities to discover teamwork, skills, disci-pline, and purpose, while working with their hands in a challenging wilderness environment. The TAW curriculum, based on AAW princi-ples, is designed to help the Narrow Gate students build woodturning skills and techniques, including lathe safety, sanding, tool sharpen-ing, finishing, and surface embel-lishment through production of functional wooden objects. Both beautiful and meaningful, these handcrafted products – spindles, bowls, platters, peppermills, and chalices – are sold to help support the foundation. More importantly, these young men have experi-enced personal transformation and gained skills that will last a lifetime. The TAW applied for and received an EOG grant to help Narrow Gate upgrade the wood-turning equipment tools and sup-plies in their shop.

Developing Future WoodturnersOlympia High School, Olympia, Washington, had a robust industrial arts program. Their wood shop had two 4224 Powermatic lathes and five Jet mini-lathes, but neither of the teachers had much lathe experience. So, Larry Miller, AAW’s symposium youth program coordinator and officer of the Woodturners of Olympia, an AAW chapter, began volunteering in the classroom two days a week to help more than 50 students with their woodturning projects. While in the classroom, Larry found that most of the school’s lathes were broken or needed tuning, and that their woodturning tools and equipment desperately needed to be upgraded. Plus, they had no grinder to sharpen tools or lighting for the lathes. Over a weekend, Larry recruited chapter members to repair and tune the lathes. What’s more, they secured a donated grinder and scrounged up a variety of loaned tools and woodturning equip-ment, which enabled students to work more effectively – and safely. But, the school’s shop needed its own perma-nent equipment. For that reason, the Woodturners of Olympia applied for an EOG grant to help the school. With the grant funding, they were able to outfit the school’s wood shop with new lathe lights, chucks, live centers, sharpening jigs, Adjusta-jaws, bowl gouges, a skew, parting tool, spindle-roughing gouges, scrapers, and a detail tool. Students immediately were more excited about woodturning and the quality of their projects improved dra-matically. Commenting on his experi-ences with students at Olympia High School, Larry Miller revealed, “The EOG is a terrific program that can help ensure development of future wood-turners. I highly recommend working with students—it is immeasurably rewarding and I guarantee you will get more out of it than the students.”

Narrow Gate students, staff, and TAW members with equipment purchased using EOG funds.

A Narrow Gate student sands a peppermill.

Students with some of their projects. Olympia High School students with their new woodturning equipment purchased by means of an AAW EOG grant.

THE WOODTURNING COMMUNITY THROUGH EDUCATIONAL OPPORTUNITY GRANTS


ENRICHINGBringing Artistry and Inspiration to a Broader Public

Turning a Dream into Reality

Schoolchildren learned to turn whistles and pens at the 2014 Turning Around Boston event using the new mini-lathes purchased with EOG grant funds.

Photo: Courtesy of Abigail Norman, Eliot School of Fine & Applied Arts

The Eliot School of Fine & Applied Arts, Boston, Massachusetts, is a non-profit art and craft center that offers classes and workshops in woodwork-ing, fiber arts, painting, drawing, photography, and other crafts. In addi-tion to in-house workshops, they send teachers into classrooms, libraries, and community centers throughout the city, where they bring artistry and inspiration to a broader public. The Eliot School’s woodturning classes are always in demand and sessions fill quickly. Most recently, the school utilized EOG grant monies for the purchase of additional Jet mini-lathes. Each time the school adds another lathe, they are able to introduce even more individuals to the magnificent world of woodturning.

Adam Hood, Lakeland, Florida, has used a wheelchair since a motorcycle accident permanently damaged his spinal cord at age 24. Just two years after the acci-dent, he learned to use a lathe and began turning small objects, including goblets, small bowls, bottle stoppers, and pens. His father, Steve, a cabinet maker, made modifications to Adam’s lathe and workspace so it would be more accessible. However, ergonomics continued to be a problem. As a seated woodturner, Adam had difficulty easily and safely performing various wood-turning tasks, including getting the right angle with a bowl gouge. But Adam’s tenacity and passion for woodturning prevailed, and he applied for an EOG grant.

“The EOG grant I received was used along with money raised by

When asked about the significance of EOG grants to their program, Abigail Norman, a director at the Eliot School, revealed, “Our woodturning program is only possible because of the grants AAW has provided over the years to purchase lathes, turning tools, and parts.” She explained, “We have taught 97 adults and 59 teens in our in-house turning classes in the past three years, plus over 100 Boston public middle school students. In addition, we used the mini-lathes in Turning Around Boston, our fall 2014 collaboration with master turner Beth Ireland in the Boston Public Schools. Through that one-month outreach program, 1,028 schoolchildren each made a wooden whistle or a pen, some using the new mini-lathes.”

Adam taking the Independence for a spin.

the Woodturners of Polk County and Tri-County Woodturners, [both AAW chapters], to buy a Robust Independence, which is the first full-size, sit-down lathe for seated woodturners,” Adam reported. “The grant helped me because I was able to go bigger and better on the lathe, and acquire my eye for bowl shapes and turning technique.”

Now in his early thirties, Adam says that woodturning has changed his life and that his dream is to build a successful woodturning business and help others learn and enjoy woodturn-ing. “The grant was important to me because I wanted to expand my woodturning experience into demonstrating and teaching, not only to able-bodied turners, but disabled turners alike,” he revealed.

THE WOODTURNING COMMUNITY THROUGH EDUCATIONAL OPPORTUNITY GRANTS

ENRICHING THE WOODTURNING COMMUNITY THROUGH EDUCATIONAL OPPORTUNITY GRANTS, CONT.


A student adds color to a turning at the Boys and Girls Clubs, in Kingsport, Tennessee.

At risk children at Safe Harbor Maritime Academy in Jacksonville, Florida, learn the basics.

Beth leads an impromptu turning session with adults in New Mexico.

ENRICHING THE WOODTURNING COMMUNITY THROUGH EDUCATIONAL OPPORTUNITY GRANTS, CONT.

Turning Around America Beth Ireland, Roslindale, Massachusetts, is a woodturner, artist, educator, and EOG grant recipient. Beth and Jenn Moller developed a traveling educational project called Turning Around America. The goal was to empower people through the simple act of making an object in wood. For a year, Beth and Jenn traveled the country in a van, which served as both home and a mobile woodshop, teaching hand skills through wood-turning and woodworking to as many people as possible.

When Turning Around America first launched, Beth gave impromptu woodturning lessons at truck stops, campgrounds, and just about any-where she could attract an audi-ence. Once word got out, teachers, woodturning club members, and others began scheduling visits. “The project was totally successful and continues in smaller time spurts,” Beth reported. “The experience and education I shared will get multi-plied over time in so many ways. The objects that were made will be cherished for years to come. The woodturning guild members who worked with me are now teaching others. Some high school teachers are now ordering lathes to add to their curriculums.”

“The [EOG grant] money helped me subsidize travel expenses and materials on my road trip,” Beth explained. “I have always loved woodturning and want everyone for generations to come to get the thrill I get every time I step up to the lathe,” she revealed.


PROFESSIONAL OUTREACH PROGRAM (POP)AAW’s Professional Outreach Program (POP) fosters and promotes high standards of professionalism and visibility in the woodturning arena through a variety of initiatives, including the American Woodturner journal, Fellowship Grants, Merit Awards, Symposium Artist Showcase, exhibits, galleries, and presentations. POP encourages and assists members of the woodturning community in the development of their professional skills, and helps to advance and promote the woodturning field as a legitimate medium of art. They generate ideas, concepts, and programs on subjects of a professional nature to benefit woodturners, as well as conduct a variety of POP Forum panel discussions on relevant topics, and recognize individuals who have demonstrated high standards of professionalism throughout their careers.

36 AMERICAN ASSOCIATION OF WOODTURNERS 2015 ANNUAL BENEFIT AUCTIONS | ARTIST PROFILES

EXCERPTS FROM, “ENGINEERING THE CRAFTSMANSHIP OF RISK: THE CREATIVE LIFE OF J. PAUL FENNELL”

Every wood artist I have ever spoken to had a parent or grandparent who planted the seeds of woodwork in them at an early age. Paul’s early influ-ence came from his father: “He had a small workshop in the basement and could make just about anything that would be useful. The thing I remem-ber most about the workshop is the aroma of white pine being cut. It was so sensuous.”

The lure of wood was strong, but Paul’s father had ambitions typical of immigrant families, and that included taking education very seriously. Paul was fortunate enough to go to a very progressive high school, which suited a boy of his potential.

Throughout high school, Paul responded well to high expectations: “I took a lot of math and English. My parents always assumed I would go to college, so when I said I wanted to take up aeronautical engineer-ing, they were pleased. I wanted to design airplanes and be involved in building them, so I chose The Ohio State University for its great engi-neering program.”

“My first job was in San Diego on the Atlas program, and I worked on the missile that launched John Glenn into orbit. I soon changed companies to work on the second stage of the Saturn 5 rocket that was going to launch the Apollo missions into orbit and eventually to the moon. We moved to Whittier, California, and I worked at the factory that built the P51 Mustangs during World War II.”

After twelve years, Paul was offered the chance to move to Houston to

BY TERRY MARTIN, PUBLISHED IN AMERICAN WOODTURNER, FEBRUARY 2015

work on the Shuttle program, but he must have surprised everyone when he declined. “I didn’t want to live there,” he explains, “so I got out of the engineering business. I started working as a rocket scientist in 1961 and finished in 1973. It wasn’t a very long career, but it was an intense and exciting part of my life.”

During this period, Paul also devel-oped his interest in woodturning: “In 1971, I was making bookcases and toys for my two boys. There was a high school nearby that offered adult education classes, so I went there to make furniture. I noticed there were lathes that were never used, so I asked the instruc-tor whether they were available for us. They were. He didn’t know

much about them but offered to help as much as he could. The tools were all beat up, and the teacher explained, ‘You’re going to need lots of sandpaper.’ I just put a piece of wood on the lathe and started, and I thought it was pretty neat.”

In 1980, Paul became involved in the burgeoning woodturning movement. Inspired by all this exposure to the rising stars of turning, he continued to experiment in his garage.

Even as late as 1986, Paul did not have a real focus for his work, but at his first AAW event, when he was introduced to hollow forms, everything changed. “The aesthetics came later, but once I got into hollow forms, there was no going back.”


Cycles, 2014, African sumac, 6" × 6½" (15cm × 16.5cm)

Red Cord, 2005, Mesquite, acrylic ink, 8¼" × 6" (21cm × 15cm)

Paul believes that his success as a turner really started in early 1988, when he began turning thin-walled hollow forms. “I just kept getting better and better,” he says. “The pieces were mostly unembellished, but I did turn thin grooves in some and I sandblasted others. I felt the sandblasting process was a break-through—the effect of eroding the soft grain while leaving the harder grain intact was impressive and people just had to get their hands around them.”

Paul started making his hollow forms really thin in the early 1990s, borrowing Richard Raffan’s idea of using light as a wall-thickness gauge. “He was using it on the outside,” Paul explains, “but I bought a fiberoptics unit with a

thin light cable you could put in a hollow form and when it was thin enough it would become translu-cent. I still do this during demon-strations and it amazes everyone.”

Eventually, those who had inspired Paul began to recognize his work. An increasing number of collec-tors also began purchasing Paul’s work during this period, which was, as Paul says, “a good time to be a woodturner.”

“The heavy carving, piercing, and texturing began around 1997, when I did things like basket-weave designs,” Paul explains. “The design for the lattice pat-terns came from a small snippet of two-dimensional patterns from Buddhist temples in China. I was

curious about how it could be applied to a three-dimensional surface.”

Never one to rest on his laurels, Paul soon began to explore the third dimen-sion of the vessel surface. You can almost hear him asking himself the questions: “What if…? Would it be better…? How would it look…?” In ret-rospect, the evolution of his work seems obvious, inevitable, but in reality it took a lot of experimentation, backtracking, and broken wood to arrive at this level of craftsmanship.

Like the evolved state of his turned work, his successes in life resulted from a will-ingness to face risk, a precedent set by his immigrant grandfather and entrepreneur-ial father. That Paul has embraced this atti-tude is evidenced by his rich and varied life and by the ambitious nature of his art.


EXCERPTS FROM, “CLAY FOSTER: PROFESSIONAL OUTREACH PROGRAM’S 2014 EXCELLENCE AWARD” BY KEVIN WALLACE, PUBLISHED IN AMERICAN WOODTURNER, JUNE 2014

The Professional Outreach Program gives biennial merit awards to indi-viduals selected by the committee who have shown exceptional development in their careers as artists, and whose artworks have directly inf luenced or had a significant impact on other artists within the field of woodturning. Clay Foster is [2014’s] worthy recipient because of his exemplary, consistent, and significant contributions over many years, not only with respect to his art but also as a teacher.

With a calm, confident voice, Clay Foster’s work echoes centuries of indigenous makers. The simplicity of line and form belies thought-ful craftsmanship underlying the making, beckoning viewers to experience with pleasure. “My work has what I call casual execution,” Clay says. “That doesn’t mean it’s carelessly made, but that there is a collaboration between the scars and flaws of a piece of wood and the relaxed execution of a practiced hand. I believe there is a place for the imperfections that serve as a metaphor for the reality of life and the greater truth of the flaw.”

The originality of Clay Foster’s work is due to myriad influences, includ-ing ancient architecture, utilitarian objects from Africa, and the weather-ing of surfaces. With diverse content seamlessly integrated, these influ-ences manifest in a variety of ways.

While many artists squeeze as much meaning as possible into their work and gladly share the depth of their ideas, Clay is not so forthcoming. In fact, he prefers the viewer find rela-tionships and meaning in his work,

and if some amount of mystery remains then all the better.

“My art combines elements and sources to capture the essence of things that are old, things that last, and things that endure. Ancient voices speak to our hearts in modern times; these are the things that give us comfort and courage. I’m inspired by temples and towers that point to a higher plane; religious objects that have an aura of sacredness; a tool handle polished smooth by genera-tions of makers’ hands. The distinc-tion blurs and their story becomes our story,” [Clay explains].

Clay Foster was born in 1954 in Austin, Texas, to parents support-ive of his desire to understand how things were made: “One of my earli-est toys was a board that my father started nails in, and I would hammer them home.” For his fifth birthday, he was given his own handsaw. While his father looked after his initial experience with woodwork-ing, his mother taught him how to use a sewing machine and embroider. This early and expansive approach to materials and processes, and the ensuing desire to create, led him to art school, where he studied weaving and fabric design.

“Patterns have always caught my attention,” he says of this early inter-est in fiber art. “I learned a lot in the three years I was in school, but quit before I got a degree. I needed to make things more than I wanted a diploma.” With a restless curiosity about the world, he has continued his study of art as an autodidact.

Temple Bowl Series, 2008, Wood, stone, wire, tile grout, 54" × 18" (137cm × 46cm)


Clay’s career as a woodturner began 25 years ago when he first encoun-tered the work of Dale Nish and Bob Stocksdale. He was intrigued by the potential of wood as an artistic medium, the idea that a piece of tree could become a work of art. “I didn’t realize how seductive that would be until it was too late,” he says.

Clay’s work first came to the atten-tion of a wider audience with his turned natural edge bowls that mea-sured up to three feet in diameter. Even at that large scale, they pos-sessed a quiet beauty.

Today, Clay incorporates various elements that are balanced to create a whole. He spends relatively little

time turning a bowl compared to the hours spent texturing, decorat-ing, and combining it with other components. A turned vessel, inten-tionally displayed, creates meaning and significance.

Despite having created an impressive body of work over the last quarter century, Clay continues to pursue an ideal that only nature can provide for. He is still searching for the perfect piece of wood and perfect stone to make a piece he had a dream about six years ago: “Somewhere out there is a rock that has been waiting 60 million years to become a piece of art. Somewhere out there is a tree that grew just to become a piece of sculpture. I am just here to bring them together.”

Clay Foster with Lucinda, who turns out perfect eggs.

Rattle Pot, 1994, Wood, graphite, raffia, shell, buttons, string, 8" × 8" dia (20cm × 20cm)

Painted Cave, circa 1992, Wood, stone, desert detritus, 8" × 7" × 8"

(20cm × 18cm × 20cm)

Precious Metal, 2012, Sheet metal,

brass rivets, 3" × 10" (8cm × 25cm)

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