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Turning green

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Tornearia de madeira

Tornearia de madeira

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  • 1. Turning GreenAmerican Association of Woodturners
  • 2. Turning Green
  • 3. Turning Green American Association of Woodturners 2007 Exhibition Premiering at the Oregon College of Art & Craft Portland, Oregon June 28–July 20, 2007 American Association of Woodturners Gallery St. Paul, Minnesota September 14–December 14, 2007
  • 4. “Turning Green” is the American Association of Woodturners (AAW) 2007 themedexhibition. After premiering at the Oregon College of Art & Craft in Portland, theexhibit will travel to St. Paul, Minnesota, where it will be featured at the AAWGallery the latter part of 2007. Considering the lush countryside around Portland,as well as recognizing that places a high priority and emphasis on green living andprotecting the environment, the “Turning Green” theme seemed very appropriatefor this exhibition.The exhibit consists of 40 juried pieces, work from 11 invited artists, plus creationsfrom the three show jurors. In looking over the 120 juried pieces that weresubmitted and the accompanying commentary, one thing that struck me was thedeep environmental sensitivity many turners expounded upon. There were outlooksthat ranged from a very fervent concern to a cynical and dire prediction about theeffect mankind is having on the natural environment. Working with salvaged woodand timber rather than using trees from our forests was also a strong component ofthe show. Of course, there were some pieces turned from wet (green) unseasonedwood that obviously changed dramatically as the wood dried out. Then, there weresome entries that worked playfully around the color green.It seems to me that each year the level of originality and creativity in our exhibitsgoes up a notch. I find this exciting for the current display, as well as lookingforward with anticipation to what future shows will provide.I would like to offer a special note of thanks to the Oregon College of Art & Craftfor hosting the exhibit, the jurors who judged the entries, and of course all thosewho entered work and participated in this outstanding display.Bill HaskellExhibitions Committee Chair
  • 5. ContentsCharles Benson 6 Kristin LeVier 36Marco Berera 7 Robin Liles 37Christian Burchard 8 Bill Luce 38Kevin Burris 9 E. Lundburg 39Jim Burrowes 10 Mike Mahoney 40Leonard Byrd 11 Alain Mailland 41Francisco Clemente 12 James McClure 42Tom Crabb 14 Mary McKinney 43Barbara Crockett 15 William Moore 44J. Paul Fennell 16 John Noffsinger 45Melvyn Firmager 17 Craig Nutt 46Mark Gardner 18 Pascal Oudet 47Dewey Garrett 19 Ross Paterson 48Cliff Guard 21 George Peterson 49Bob Hadley 22 Gary Pollard 50Michael Hampel 23 Sterling Sanders 51Stephen Hatcher 25 Heidi Schwegler 52Tim Heil 26 Curt Theobald 53Al Hockenbery 27 Bill Tilson 54John Jordan 28 Gerrit Van Ness 55Neil Kagan 29 Derek Weidman 56Ed Kelle 31 John Williams 57Glenn Krueg 32 Helga Winter 58Alan Lacer 33 Malcolm Zander 59Dale Larson 34 Jury Statements 60Normand Lavoie 35
  • 6. Charles Benson Spokane, WA This vessel, made from a dead apricot tree and recovered wood, is a multi-axis hollow- form intersected with another hollow form. It was turned, hollowed, carved, shaped, steam bent and embellished with acrylics. All glues, wood-fillers, and finishes are water based. The final finish is a water-base lacquer Crystalac. No CFC’s anywhere. This piece depicts the importance of ozone protection. The stratospheric ozone layer is the earth’s natural protection for all life forms, shielding our planet from harmful ultraviolet-B (UV-B) radiation. UV-B radiation is harmful to humans, animals, and plant life. This destructive radiation is credited for damaging our hardwood forests and phytoplankton (part of the ocean food chain). The ozone layer is being damaged (ozone holes) and depleted by our use of certain chemicals including refrigerants, halons, and certain crop pesticides (CFC’S— chlorofluorocarbons). This work shows the fiery radiation penetrating our damaged stratospheric ozone layer and destroying our green earth below. The green earth is depicted on the opposite side. The solar flames on the top demonstrate the need for this protective layer. Ozone Apricot, cherry, and maple 9” x 4”6
  • 7. Marco Berera Richmond, BC, CanadaPollution of our water bodies is a seriousenvironmental problem. This sculpturedepicts fish fighting for a clean environmentwith the rough inside depicting the pollutionthey encounter and the clear plastic basethe clean water for which they and we long.Something FishyAlder firewood, turned and sectioned; base turned(recycled plastic aircraft window), inside lower sec-tion and opening textured and airbrushed11” x 6” x 4.5” 7
  • 8. Christian Burchard Ashland, OR For the last couple of years I have been using pieces of green madrone root to turn open vessel forms in my White Baskets series. During the harvest of madrone burl for veneer, the bottom sections of these burls, the root systems, are discarded and taken to the landfill. It is hard to find sections large enough to turn (and hopefully free of dirt and rocks), there is a lot of waste (and dull chain saws, etc.), but I am intrigued by the unpredictability of turning this material. Shrinkage is up to 25%, sometimes more. The final form is dictated by a myriad of grain directions, root connections, and stress patterns. To emphasize this, I remove all color through bleaching, like in black and white photography, to show the essence of this material—the spirit within. White Basket Bleached madrone root 10” x 11”8
  • 9. Kevin Burris Portland, OROne of the most important aspects of mywork is the use of magazines. The magazinehas gone through a metamorphosis startingas wood, processed into a magazine, andnow used as a substitute for wood withinmy sculptures. In a sense, it is arepresentation of the past and presentmaterials that have been combined into onesculptural object. The addition of themagazine helps to break up the woodsculpture and helps create aestheticallypleasing lines using the bound and printedimages and information. These lines ofpaper tell stories, and document cultures.Although we cannot access it physically onceit is incorporated into a sculpture, we canimagine what the pages might contain andmake up our own stories.Movement Series #14National Geographic magazines, wood, and paint10” x 12” x 10” 9
  • 10. Jim Burrowes New Carlisle, OH These candlesticks were turned from a single yellow pine 2” x 4” board that was left over from the construction of my new shop/gallery. I hope that woodturners generally make efficient use of our precious forest resources by using materials that would otherwise be discarded or burned. Leftovers Yellow pine, turned on multi-axis between centers 15.5” x 3.5” x 3.5”10
  • 11. Leonard Byrd Phoenix, AZ This bowl was made from OSB that was recycled from a multi-home building project.Untitled #3Laminated and turned oriented strandboard (OSB)4.5” x 7.5” x 7.5” 11
  • 12. Francisco Clemente Honolulu, HI As a building contractor and cabinet maker, I always have scrap pieces of Baltic birch left over from constructing cabinet drawers. This piece was made from scraps that otherwise would have ended up in the dumpster. Gota de Lava Baltic birch plywood scraps, turned and carved 27” x 7” x 7”12
  • 13. Francisco Clemente Honolulu, HIThis vessel was made out of pieces of OSBscraps found on the construction site. OSB isa material that is used in construction towrap walls and floors; thus, there are lots ofscrap pieces that end up going to the dump.In finishing the piece, metal powder wasused to fill the crevices.Pau OpalaOSB (oriented strandboard) scraps, turned, carved,and oiled15” x 9” x 9” 13
  • 14. Tom Crabb Richmond, VA This piece suggests that the relationship between man and nature should be an intimate dance of style and grace – the Tango, a dance without stepping on each others toes. The Tango represents growth and renewal while using each other for expression. This limb material, which usually ends up in the landfill, was put to good use here. Tango Cherry and hackberry, turned hollow forms, steam bent 8.5” x 7” x 4”14
  • 15. Barbara Crockett Columbus, OHThe piece of wood in this turning was froma very large tree that was bulldozed on landthat was being cleared to make way for anew housing development. The fallen treerevealed wonderful curl and color that hadbeen hidden inside for decades. The backhoe operator saw the beauty in thismajestic old tree and called us before it hadto be shoveled off to the landfill. About 50turning blanks were rescued from this treethat day.Rescued BeautyCurly box elder, turned green, bleached, and finishedwith water based polyurethane8” x 9” x 9” 15
  • 16. J. Paul Fennell Scottsdale, AZ The neon tubing—representing the flower stems—is energized at the ends concealed within the stone. The wood elements— leaves at the base and tubular flower forms—are turned, carved and bleached to appear white and lifeless. The stone, a common hard, smooth granite cobble has drilled holes to accept the leaves and neon tubing. A supporting pedestal houses the transformers and wiring. Once energized, the stems glow a blood-red up into the flower calyx, causing the flower forms to glow because of their translucency. The effect is that blood is being drawn out of the stone by the stems to nourish the flowers. “Blood” is also seen oozing from the base of the leaves, within the leaf veins, and dripping off the pistils of the flowers. All of the elements are from recycled materials except the electrical components. This piece was created as a metaphor emphasizing the extreme difficulty in uniting the global community to deal with the implications of climate changes due to human activity. The implied metaphor involves blood being used in the surreal manner of sustaining a flower, eliciting a false sense of well-being, even with the knowledge that it is impossible to extract it from an inorganic, sterile object such as a stone. This emphasizes the proclivity of mankind to ignore or trivialize negative global trends, either by procrastinating or by falsely Blood from a Stone assuming that new technologies will arrive in time to solve the problem. Wood, stone, and luminous neon tubing 16” x 10” x 8”16
  • 17. Melvyn Firmager Wedmore, Somerset, EnglandEucalyptus is a very unstable wood whenwet, and changes shape as it dries. Thispiece has a green perspective from the useof wet wood; the wavy rims that representnature in all it’s myriad forms; and the useof a fallen domestic tree that wouldotherwise have gone to the dump or beenburned as firewood.Sea Flower in a Shifting CurrentEucalyptus, turned off-center, stain,powder, and glue9.5” x 7.25” 17
  • 18. Mark Gardner Saluda, NC Offering Bowl Maple and paint 3.5” x 22” x 18” This piece was turned green and allowed to bowl for this piece green, leaving it thick and where the repairs will be. One of the things I dry and warp and crack. Once dry the cracks allowing it to warp and crack I feel that I’m like about my current work is that I’ve given were repaired with butterflies inlayed over able to bring some “looseness” to the piece. up a bit of control. I have a good idea of what the cracks. The pattern was drawn with Many of the pieces of Oceanic and African art the wood is going to do and how it is going pencil, carved and then painted using milk I’m drawn to are utilitarian items that have to move, but I’m not as interested in it being paints, and finally, acrylic lacquer. been repaired at some point. In my work the perfect (how a circle is perfect) anymore. This turned form often cracks as it dries. I repair piece, unlike some of the vessels I’ve made Most of my work has been influenced by them by inlaying butterflies over the cracks. that are highly carved and embellished, allows African and Oceanic art. There is a This will insure that the crack won’t develop the wood to add a bit of its natural rhythm to “looseness” and spontaneity to that work that further and, because I can’t control where the the piece as it dries and warps. I try to incorporate in my work. By turning the cracks will occur, it adds some randomness to18
  • 19. Dewey Garrett Livermore, CA Burl in the City Maple burl, turned and bleached; oak scraps, milled and turned, assembled and bleached 7.5” x 14” x 14”One of the meanings of sustainability is the beauty of a precious natural material. Thecapability “to keep from falling, to uphold, bowl in the piece is turned from a cylinderand to support.” As metaphor, this work cut from a maple burl cap; the supportingsuggests that a complex human construction city vessel form is made from scraps of oaklike a city can support a natural and wood left over from other projects butbeautiful resource like the maple burl turned saved to be recycled into a new piece. Theinto a vessel form. When we use and components are bleached to suggest themanage our forests responsibly, we both human involvement in the process.maintain the resource and preserve the 19
  • 20. Dewey Garrett Livermore, CA PI Boxes Pink ivory 2” x 3” x 3” (largest) Pink ivory is a rare and expensive wood and I little boxes from the corners of the square had saved this block for a number of years, block for a total of nine boxes. This method of seeking an appropriate use for it. In thinking fabrication also gave me the opportunity to about how to maximize the use of the decorate the sides and both the top and material, it occurred to me that I could make a bottom (inside and out on the larger ones) on number of boxes if I cored the wood block my homemade ornamental turning engine. several times and then assembled each core This piece illustrates how, with a little extra with a fitted top and bottom from the same work, we can minimize waste and use our piece of wood. I was also able to make four precious material responsibly20
  • 21. Cliff Guard Chesapeake, VA From colonial times to the early 1900s, loggers cut trees from inland virgin forests and floated them down the various rivers to sawmills in port towns such as Wilmington. Many of the logs became saturated/waterlogged, sank, and were forgotten. With unlimited forests it was easier to cut more trees than recovering the sunken logs. In recent years, The Cape Fear Riverwood Corporation has been recovering these lost trees from the river bottom. Because the logs existed on the river bottom in an oxygen free environment, when it was turned, it was like green wood. There was the unique smell of turpentine and the expected movement of green wood. Sunken TreasureSouthern yellow pine (reclaimed “river wood”) 5” x 4.25” 21
  • 22. Bob Hadley Yorba Linda, CA Let It Be Macadamia, “urban timber” 5” x 8” x 8” By utilizing wood from urban street or yard landfills. By using these otherwise discarded trees we help preserve the natural forests. street trees instead of forest timber, we can We also can extend the life of a street tree do our part to keep the world a little by turning it into something interesting and greener a little longer. useful. So many street trees end up in22
  • 23. Michael Hampel Chelan, WA The root-burl which this wood came from grew in an old homestead in my town, which is currently being developed into condominiums. Being at the right place at the right time, I saved it from being burned. So much gets wasted in our modern day drive for progress, speed, and efficiency, that it gives me great pleasure to use material that was considered waste. Family IVEnglish walnut burl, turned green, and sand blasted 12.5” x 14.5” 23
  • 24. Michael Hampel Chelan, WA We share the planet with many forms of life, but a common perception is that only human interest and welfare are worth considering. I believe in order for us to continue to survive and thrive, we have to have a broader view of our everyday activity and how it affects the planet and all other life forms including ourselves. I attempt, with my work, to honor the natural world and its many permutations. The wood for this piece is recycled from a tree previously destined as waste. It’s Not a House, It’s a Home English walnut burl, turned, carved, and sandblasted 11” x 13” x 12”24
  • 25. Stephen Hatcher Everett, WA Spring Arrives Maple, ebony, and mineral spirits 7” x 8.5” x 2.5”The maple was obtained from a tree used in guitar manufacturing were usedremoved for housing construction. The in place of real ebony veneers. The finish isebony was guitar fingerboard seconds a water-based lacquer (KTM9).(containing insect holes) and laminated The design emphasizes the emergence ofwith black epoxy to achieve the desired life in spring when the forests are turningthickness. Wood fiber veneers normally green. 25
  • 26. Tim Heil Gem Lake, MN Yes, the lights work, and in so doing the project literally “Turns Green.” The cherry and red oak were harvested when the city widened the road in front of my house. The maple is scrap from a porch column. The colored lights are “energy savers.” They only draw 14 cool watts but illuminate to a 60 watt equivalent. Turn On Green Red oak, cherry, maple, three discarded shop lights, scrap pipe, and a broken music stand base 27” X 7” X 7”26
  • 27. Al Hockenbery Lakeland, FL The nested spheres are joined using the principle of an antique green wood chair joint in which a bulbous tenon is forced through a hole bored by a spoon bit which creates a hole wider than its opening. When the wood shrinks, the joint tightens. Camphor is an alien invasive species in Florida. Alien Trio Camphor, turned 2”, 3”, and 5” ballsThe large ball is textured along the growth rings. 5” x 5” x 5” 27
  • 28. John Jordan Antioch, TN JUROR This piece is part of “The White Ash Tree Project” created from the wood of a 350- year-old white ash tree. This project was conceived by Steven Strompf to keep the spirit of a very special tree alive. The tree grew in front of an elementary school his children attend in Tenafly, New Jersey. This beautiful 75-foot tree has watched over children for many generations. This piece, along with work from thirteen other prestigious woodturners, is part of a collection belonging to “The Children’s Tree and Art Foundation, Inc.” This foundation was created to protect the works of art created from this tree, as well as develop and enrich the lives of children through art and culture. White Ash Tree Project White ash, turned and carved 7” x 9”28
  • 29. Neil Kagan Falls Church, VA The Secret Rose Cherry, turned and carved 4” x 6” x 6”“The Secret Rose” is turned and carved the ultimate symbol of love, the flower thatfrom a cherry tree which was cut down by a connects the essence of the natural worldneighbor because it threatened to fall on his with the human heart. “The Secret Rose” ishome. I discovered the cherry logs left by a turned box with a lid carved into a stylizedthe curb waiting to be carted off and ground rose. Upon opening the box, a second roseinto mulch. is revealed on the underside of the lid. If you turn the box over, the secret of theThe design was inspired by Portland’s Rose rose’s growth is revealed – unfurling pedalsGarden. The rose reflects the emotional in a spiral pattern.connection between people and nature. It is 29
  • 30. Neil Kagan Falls Church, VA Wedding Flower Ambrosia maple, turned and carved 11.5” x 13.5” x 11” Wedding Flower was turned and carved happiness, and fertility. The turned and from a found log. I noticed the telltale carved flower is similar to the one I made streaks of the ambrosia beetle in the wood for my daughter and husband for a wedding and rescued several choice pieces that gift—created from the other half of the same would have ended up in the dump or in maple log. It is another example of turning someone’s fireplace. wood destined for destruction into a symbol of life—a kind of eternal bloom. In Chinese culture, flowers are not only objects of beauty, but symbols of life,30
  • 31. Ed Kelle Glen Head, NY The FragileA continuation of my Coral Series, this piece nature and how a seemingly small change Sugar maple, turned and carveddemonstrates the bleaching effect occurring can produce drastic results. Made from 11” x 1.5”within coral reefs throughout the world, salvaged sugar maple, the gentle rocking ofwhich are mainly caused by global climatic the platter implies this delicate balance. Thechange and increased UV radiation. The small wood fibers identify the material asresult is that the color producing algae living wood, while also providing a reference towithin the corals are not able to survive, the algae present in real coral.leaving only the bare coral skeletons. Theplatter demonstrates the fragile balance of 31
  • 32. Glenn , Krueg Newark, CA Bamboo Maze Top row, left to right: carob, carbonized bamboo, palm A sustainable eco-friendly exhibit with nut with African blackwood top, cork oak, tagua nut carbonized bamboo box, natural bamboo and blackwood, Honduras rosewood burl, spalted shelves and background, all leftover pieces tamarind, popcorn cob with blackwood, and curly from a flooring project. The back panel is minneritchie. Bottom row, left to right: cocobolo, recycled chipboard. Miniature pieces are afzelia lay, bamboo, blackwood, brown box elder, spalted tamarind, orange box elder, and black palm from tree prunings, sustainable agricultural products, palm nuts, shorts and cut-offs 8.5” x 14” x 2.25” unusable for manufacturing. All pieces are finished with natural waxes.32
  • 33. Alan Lacer River Falls, WIThis is one of a series I have done forabout 10 years. The box holds around 2pounds of normal length pasta (about 10”in length). I chose this wood for the“Turning Green” exhibit based on a uniqueproperty of the wood: in strong light thecolor turns to a rich green. Finding woodthat is truly green is a real challenge—andthis wood has the unique property of beingquite photo reactive. If the light level is low,the green color reverts back to a moregolden color; placed back into strong lightthe green color returns in several days.Russian Chameleon Spaghetti BoxPalo Santo (or also called “vera wood”)12.5” x 4” 33
  • 34. Dale Larson Gresham, WA This is the last end of an old growth Douglas fir beam that was full of nails and holes. It was 12” by 14” in size and about 24” long. In looking at the good end of the beam, I could see two possible bowls. I thought it was a good use for a second life for this old beam. Two Bowls Old growth Douglas fir 4.75” x 13.25” and 5” x 13”34
  • 35. Normand Lavoie Woodstock, GAStorm damage and development havecreated a supply of wood for much of myturnings. But this “plain Jane” wood hasforced me to be more creative, and for this Iam grateful.A lot of attention is given to the exotics andrare woods that are endangered species,and while they have a place in woodturning,I believe more consideration should begiven to local timber that is not endangered.Trees such as red maple, poplar, sweet gum,sycamore, American beech, white ash, blackcherry, and black walnut are self sustainingwhen the mortality and removal rates arecompared to the growth rates per year. Onthe other hand, Africa and South America,where much turning wood comes from,have the majority of the worlds endangeredtrees and diminishing timber stocks. Forthese reasons, I chose to use poplar andblack cherry for my piece.MerlotTulip poplar, turned, carved, and dyed9” x 6.75” x 6.75” 35
  • 36. Kristin LeVier Moscow, ID “Turning Green” challenged me to find a way to represent growth and life using scavenged and recycled (scrap wood), recyclable (aluminum), and environmentally sound (milk paint) materials. I chose to give a bundle of mismatched shop scraps new life as a modern tree, newly emerging from winter dormancy, to celebrate the springtime birth of my baby daughter. The trunk and leaves of the lamp are turned from glued-up scrap wood: each is made up of two or three glued-up layers, with the exception of a few leaves that were turned from an abandoned chair leg discovered in my basement. Petra Incandescent Maple, poplar, oak, aluminum tubing, milk paint, embroidery thread, grain of wheat lights, glued-up, turned, sawn, carved/hollowed, and painted 30” x 25” x 25” Photo by Archer Photography36
  • 37. Robin Liles Griffin, GA Gualala Cherry burl with pierced sculpting epoxy rim .75” x 12.5”The title comes from the Gualala River in they could use the river as a way of rivers. Sometimes entire local ecosystemsnorthern California. It roughly translates to transporting the logs to saw mills were lost forever. When the railroad and“where the water flows down.” It was downstream. Logging in this way was road systems expanded, that type of logcommon practice prior to the mid-1900s for profitable, but the damage left behind was transportation all but stopped. But,timber companies to clear cut tracts of old often irreversible. Erosion took large unfortunately, logging of old growth timbergrowth forest next to large rivers so that amounts of fertile topsoil and put it into the continues today. 37
  • 38. Bill Luce Renton, WA Reunion Douglas Fir, interior sandblasted The title refers to the fact that the bowls material. The finish used on these pieces is come from a pair of joined trees that were minimal. 5.5” x 5.25” x 5” blown over in a storm and are now together 5” x 6” x 5.75” The larger chainsaws used for tree removal again. Douglas fir is not generally considered and cutting were operated with a vegetable- suitable for woodturning because it is based bar oil instead of petroleum-based challenging to work with. These pieces were oil. The smaller trimming was done with an turned to completion while the wood was electric chainsaw also using biodegradable green and fresh. Through careful tool work, oil. sanding was minimal - mostly wet sanding to minimize airborne dust. Inside was The shavings from the pieces are used for textured by blasting with recycled crushed weed control in the garden, eventually glass in a cabinet fitted with a reclaimer that becoming humus. completely recycles and reuses the blasting38
  • 39. E. Lundburg Benicia, CABenicia is a small town packed with historyand lots of ghosts. A vessel from the woodof a town’s historic camphor trees removedfor commercial development emerges frommud and rock embedded with century-oldbits and pieces of heavy-footed ghosts. Thispiece merges the saga of early Californiadevelopment told through its trash with thecurrent tale of a historic town’s camphortrees.Rising (Again) through Our ArtifactsSalvaged wood and century-old trash, turned, carved,and hollowed. Historic artifacts are embedded into thecarved wood, while others are mounted on a thinlyturned wood platform surrounding and supporting themain element.12” x 8” x 8” 39
  • 40. Mike Mahoney Orem, UT Thin to Win Mormon poplar Green wood used in this calabash bowl lends itself to cutting thinner than dry wood. 8” x 18” If the grain is oriented correctly, the bowl will warp into a balanced organic shape that doesnt resemble a turning but looks more like a nut shell.40
  • 41. Alain Mailland Uzes, France Bonsai #4I gather my roots on forest walks. The Heather root, turned, carved, andheather roots I find will eventually be sandblasteddestroyed over time, so I use them before 5” x 8” x 6”they disintegrate and disappear. The bonsaisymbolizes my love for the tree and therainforest—from the root to the top of thetree. 41
  • 42. James McClure Cantonment, FL Ornamental Nuisance; Beautifully Ornamental This trio of pieces is intended to bring Chinese tallow tree is fast growing, fast awareness to the problem of non-native spreading, and is a nuisance because it Chinese tallow tree plants that become environmental eventually monopolizes an area and 10” x 15” x 12” nuisances. Nuisance plants spread quickly, completely replaces native vegetation. This crowd out native plants, and in some cases ornamental tree has colorful autumn foliage, cause economic as well as environmental can survive full sunlight, shade, flooding, damage. One example is the Chinese tallow drought, and sometimes even fire. tree. It was introduced in the U.S. in the Fortunately, in this case, this particular 1700s and has spread throughout the nuisance tree was removed and turned into southeastern United States and beyond. The objects of beauty.42
  • 43. Mary McKinney Crestwood, KY Black Pearl Epoxy, turned, carved, with paint- ed cherry base 6” x 8” x 3”The “Turning Green” theme inspired a new- for me. This sculpture was turned andfound consciousness and appreciation for carved from epoxy, a man-made material.the resources we use as turners. It provided The base was turned and carved frominspiration to turn materials I had not cherry recovered from a tree which had topreviously worked with, and resulted in the be removed due to storm damage.discovery of a new and interesting resource 43
  • 44. William Moore Hillsboro, OR JUROR Equilibrium Maple burl, copper, and bronze In creating Equilibrium, I was interested in exploring balance and a sense of 11.5” x 23.5” x 13.25” movement. The piece was created from a Photo by Dan Kvitka combination of multi-axis turned big leaf maple burl, a native Oregon species, and spun copper.44
  • 45. John Noffsinger Annandale, VA This piece was turned entirely from local trimming and storm damaged woods. The main body of “Grasshouse #360” is red maple from Pelham Farm, Middleburg, Virginia. Hence the word Pelham engraved on the base, as is with all pieces turned from the tree which stood near the farm’s main house. In 2002, dying from disease, this magnificent burled tree was scheduled to be cut down. I arranged to save the main portion for a series of woodworks that would carry the Pelham name. The farm was named after Major John Pelham of historical Civil War fame who camped his artillery division at this site for some time. Knowing the story and also the tree itself, I consider it quite a privilege to work this wood. The upper T-handle and tuft at the bottom of the lid are turned and carved from a black cherry tree that was downed in a storm not a mile from the Pelham tree. The grasshouse theme was inspired by man’s primitive architectural roots. Reflecting upon a time when life was seemingly simpler and a home was constructed of local growth and materials, the Grasshouse Series mimics this with the warm feeling of a home built from man’s simple needs and from his local surroundings. Grasshouse #360 Red maple and black cherry,turned and carved with pyrography and dye 6.5” x 6” x 6” 45
  • 46. Craig Nutt Kinston Springs, TN The ever-growing mound of obsolete computer equipment in the corner of my office suggests that returning consumer goods to the environment is more challenging than manufacturing them. Having made a chair from a tree and now having attempted to make a tree (or at least a credible piece of firewood) from a chair, I can attest that it takes as much effort to put the chair back as to take it out. Perhaps Joyce Kilmer had it right. TR E ES I think that I shall never see A poem lovely as a tree. A tree whose hungry mouth is prest Against the earth’s sweet flowing breast; A tree that looks at God all day, And lifts her leafy arms to pray; A tree that may in summer wear A nest of robins in her hair; Upon whose bosom snow has lain; Who intimately lives with rain. Poems are made by fools like me, But only God can make a tree. – Joyce Kilmer “Trees” was published in 1914 in a collection of his work, “Trees and Other Poems.” Make a Tree from a Chair Oak chair, deconstructed, laminated, turned, and carved 35” x 16” x 13”46
  • 47. Pascal Oudet Rue du Moulin, France Before It’s Too Late Turned, hollowed, carved and scorched live oak (quercus ilex) 6” x 6”It’s quite sinister and not very friendly, isn’t biodiversity. People are not at ease whenit? For me, turning green is about ecology looking at this piece, and if it can causeand protecting our planet. It could become them to think just a few seconds of howas welcoming as this one, if we continue to their own behavior can have an influencewaste its natural resources and destroy its on our future, I would be successful. 47
  • 48. Ross Paterson Chilliwack, BC, Canada Parallel Universe Parallam, turned, carved and dyed The concept of utilizing a piece of salvaged material, the trunk of a tree. It features the construction material to produce a turning typical saddle shape, natural bark edge and 4” x 9.5” intrigued me. A piece of parallam left over the sapwood/heartwood found on such from a house renovation project was the pieces. Turning green brings the wood in perfect material. Parallam has its own this piece full circle, from a natural tree, unique pattern due to the way that the broken down into wood fibres and wood fibres are compressed together. This manufactured into a man-made material, piece was designed to emulate a now reformed into a “natural” woodturning. woodturning made from the original48
  • 49. George Peterson Lake Toxaway, NC Large BowlFor me, turning has always been about designs. The gentle undulations in the rim Red maple, turned and sewneconomizing. I use only non-endangered, of this bowl are a result of the wood with waxed linen threadlocally harvested trees, and everything I distorting as it dries out, as is the crack and 20.5” x 7”make is roughed out while the wood is still subsequent repair. This movement plays angreen. For the professional, using local trees important role when I consider a shape, asand turning the wood while still wet are different profiles, thickness, grain orientation,obvious ways of saving energy and money. and species all play along with each other inBut, I think the most rewarding thing about the final piece.using green wood is the way it affects my 49
  • 50. Gary Pollard Greenview, CA The walnut wood portion was rescued from a windfall tree destined for the fireplace and the black walnuts were collected at night when the squirrels were asleep. The primary material used for this piece is walnut shells, which is a renewable resource requiring neither fossil fuels to harvest nor does it deplete our forests of timber. For the Squirrels Walnut wood and shells 6” x 5”50
  • 51. Sterling Sanders Sandpoint, ID“Two Trees Thanked Me” is constructedprimarily of cement. Like wood, it is anatural material which comes from theearth. As wood artists, we create objectsknowing they have a limited lifespan. Unliketrees which will eventually turn to dust,cement has the potential to last virtuallyforever. Sycamore shavings from a treedestined for the landfill were added toinfuse the spirit of the earth as it isexpressed in the tree. No trees died for thiswork.Two Trees Thanked MeCement and sycamore shavings10.5” x 3.75” 51
  • 52. Heidi Schwegler Portland, OR JUROR Trim White bronze There is no such thing as a gift that is given these gift-standbys end up in piles on the (Heidi Schwegler is a professor of metals at without the expectation of a return, whether shelves of Goodwill, completely discarded, the Oregon College of Art & Craft. As such, a reciprocal gift or a gesture of love. There is deflated and dead. she brought the perspective of an artist an economy to gift giving. This ritual is from another media to the jury process for Objects in my recent work have included situated in commerce, and there are specific this exhibit.) wax-covered balloons that no longer float, objects (clichés) and techniques marketed slumped gift bows cast in white bronze and in our culture as expressions of grief and teddy bears made of stiff raffia. By altering replacements of love—a white teddy bear, a form and materiality I have rendered these dozen roses, helium filled balloons, a tightly gifts, gift accessories, and party favors shrink-wrapped gift basket with fruit and useless. lotion buried in a nest of raffia. Many of52
  • 53. Curt Theobald Pine Bluffs, WYWhen thinking about the “Turning Green”theme, I was struck with the notion thatapplying green practices in one area canoften have a negative effect on anothernatural resource. My choice of acrylic for theexhibit typifies this observation. While notrees were used for the turnings, many ofthe synthetic polymers used in theproduction of acrylic are harmful to the airwe breathe. We need to be sensitive toconserving our natural resources and beaware of what causes their depletion. Afterall, who doesn’t want good water to drinkand clean air to breathe?Tread LightlySegmented acrylic3” x 2.75” 53
  • 54. Bill Tilson Huntsville, TX Flower Vase #180 Elm burl and hickory 4” x 7” x 7” Wanting to turn as green as possible, a vase (petals). The veneer was seconds, minimal amount of wood plus fallen, cutoffs, or unusable discarded wood from recycled or discarded wood was used. To an aircraft plywood manufacturer who was further save wood, exotic elm burl veneer going to burn it. The hickory was felled by a was used instead of a solid blank for the beaver.54
  • 55. Gerrit Van Ness Mount Vernon, WA Tossed Green Maple, poplar, turned and carved, with burl shavings, dye, and paint 10” x 13” x 16”Here is a green salad, all from salvaged fork handles from a firewood pile; and thewood: burl “leaves” from coring burl hollow bowl was turned from a reject blank takenforms; scraps of wood from the floor for from a scrap heap. Bon appetit!tomatoes, cucumber bits, and olives; salad 55
  • 56. Derek Weidman Green Lane, PA This piece is from a series of wooden mannequins I have been working on, in which each one represents a knight under an unconventional banner. This figure is the Green Knight, and instead of standing for chivalry and righteousness, like the more common white knight, he is fighting for the environment and conservation. Like all knights, his main purpose is protection, and in his case the precious ecosystems fall under his vigil. His armor, made of wood, leaves, and sticks, is symbolic of his oneness with nature, to the point that the hardships of the planet have affected him negatively. As apposed to spring green of the leaves that made up his armor when the world was fresh and new, they have begun to change with the times, taking on the color of fall. He is a staunch defender of the environment showing wear in the eleventh hour, as the planet may plunge into a true global winter. Our time is racing past us to start making important decisions, and I hope this piece helps cast environmentalism into the noble light it deserves and needs to be in. The piece was turned, carved, and painted, and then joined together in the conventional manner in which mass produced wooden figures are made. It was made of small pieces, which was perfect for the theme because scraps can actually be used instead of needing a large piece of timber that a solid carved figure would require. Knight Fall Mahogany, boxwood, turned, carved, and acrylic paint 12” x 3.5” x 2”56
  • 57. John Williams New Hope, PA Recycle-A-BowlThis bowl is made from the smallest of four Cherry, turned, pyrography, airbrushed acrylicscores from a large bowl blank. 6.75” x 1.75”The international recycling symbol isrepeated six times around the rim of thebowl. Recycling is a significant strategy forkeeping our environment “green.” Thered/orange texture of random swirls andflow lines represent the nature of ourwarming planet. 57
  • 58. Helga Winter Port Townsend, WA Untitled Madrone crotch with chainsaw edge, bleached and waxed 15” x 14” x 5.5” Photo by Frank Ross This madrone crotch was harvested from a tree that was severed in a windstorm four weeks prior to being turned into a shell-like vessel, while the wood was still quite green. Using wood from fallen trees helps save our forests.58
  • 59. Malcolm Zander Ottawa, ON, Canada I Love Yew & I Love Yew Two Pacific Northwest yew, turned and carved with natural oil finish 3.5” x 2.75” (both pieces)Few woods could be more emblematic of The bottom line is that trees and plants are key role by giving us this product, a verythe theme of this symposium than yew. The a unique source of medically valuable complex molecule which no one wouldbark of the yew tree contains Taxol products, many of which are yet to even be ever have dreamed up on their own. It is(“Paclitaxel”), a valuable anticancer drug, found. This is a very powerful argument for now made semi-synthetically; annual salesfirst isolated from a yew tree near Mt. St. preserving biodiversity. Who knows how of Taxol in 2000 were $1.6 billion!Helens. Taxol is a lifesaver for people many more Taxols are out there? These two woodturnings were made from asuffering from lung, ovarian, and breast In the case of the Pacific yew, Taxol is single small piece of found yew. The heartcancer. Trees and plants are able to produce produced in only small quantities in the form is of course representative of love.numerous unique medically active products bark, so there are insufficient trees to satisfy Which one is the female partner and whichfar more efficiently than any human scientist our need. However, the tree has served its the male is fairly evident.is able to do. 59
  • 60. Jury Statements William Moore Heidi Schwegler I am honored to have been invited to be a In order to jury such a large amount of co-juror of “Turning Green,” and wish to work, I felt it was necessary to adhere to a thank the AAW for the opportunity. As jurors, predetermined set of criteria. Included in we each brought our own perspective to this paradigm was work that struck me as the process, and as a result, we have a formally and/or conceptually intriguing, or richly diverse exhibition. work that showed a clear yet clever investigation of material and process dealing John Jordan I was looking for objects which creatively with the notion of ‘green’. explored the theme of “Turning Green” or The word "green" has several specific as expanded beyond its usual definitions Formally, I found the seeming simplicity of well as implied meanings, and we saw a (turning green wood or producing work in Cliff Guard, James McClure and Michael number of those meanings applied to the an environmentally sensitive way). I was Hample’s turned bowls to be aesthetically work submitted for this exhibition. The also looking for objects that were well pleasing and technically well done. There entries covered everything from "green" crafted and coherent in form and concept, were quite a few entries that dealt with the colored wood, to the use of "green wood" which is to say all aspects of the object notion of green by not turning wood. A few as a material, to the "green"/environmental served to convey the idea. I enjoyed the that utilized some of these alternative aspects of turning, which were applied in a process of reviewing the work submitted materials in an effective manner include number of different ways. and discussing with the other jurors what Sterling Sanders’ turned cement piece “Two each of us saw in the pieces. I came away Trees Thanked Me,” and Curt Theobald’s We have selected pieces for the show that from the process impressed with the quality segmented acrylic bowl “Tread Lightly.” we feel fit some interpretation of "green," of the work submitted. While I enjoyed Coming from a jewelry/metalsmithing and also have thoughtful, considered design seeing many applicants exploring sculptural background, I couldn’t help but be struck by along with skilled craftsmanship and ideas in their work, I was surprised not to the works of Malcolm Zander and Dewey execution, and appropriate use of materials. see more classic turned wood bowls. Garrett as visually elegant in their delicate I enjoyed seeing all of the applications, and and almost jewelry-like quality. I hope the exhibition will challenge you to gave much thought and consideration to “think green.” Before actually seeing the submitted work, I each entry. I feel that everyone that applied was concerned that it would be challenging should be proud, after all, there were many William Moore to jury a show not having had any who werent willing to put their work out experience with the medium. In the end there—its not always an easy thing to do. To however, I was free to respond to the work those that were not selected, please dont on a purely formal and intuitive level. be discouraged, its only one show. I thank each of you for being willing to share your Heidi Schwegler work. John Jordan60
  • 61. Published by the American Association of Woodturners—June 2007 Prepared by Bill Haskell, Exhibitions Chair and Jean LeGwin, Publications Chair Printed by Upfront Printers