My Turn

This post has to be brief, because I have too many things to do, but I did want to update you all on some of what I’ve been up to.

I took the plunge a couple of weeks ago and registered for the smARTist Telesummit, an event that gathers 13 experts covering various aspects of making a living as an artist. The presentations are done over the phone and recorded—some 15 hours’ worth. The timing was bad for me, as I have been busy preparing for my upcoming show and coping with a major change in my family, so I was not able to listen live, but the recordings, which are available online, make it possible for me to let it all unfold at my own pace. Thus, though the event is technically over—that is, all the speakers have spoken—I am still engaged in it.

I have to say I have been impressed with the abundance of information provided and the range of topics covered. I will go into more detail as I soak it all in.

I’m sorry I didn’t share this ahead of the event, but registering was a last-minute decision for me, and I did not want to seem to endorse something before I had checked it out. Do check it out now, though, if you’re interested; I suspect the recordings and handouts may be made available at a later date.

The Collectors of Wood Art (CWA) held their annual forum in Scottsdale this weekend, and I was able to drive up for some of the Saturday sessions.

I first got to see a panel discussion chaired by sculptor Connie Mississippi, with sculptor-carver Susan Hagen, turner Merryll Saylan, turner Virginia Dotson, and furniture maker and artist Wendy Maruyama. The theme was place, and each artist presented images of places and work inspired or informed by those places.

Susan Hagen focused on a series of ten dioramas (Recollection Tableaux) she created for the Eastern State Penitentiary in Philadelphia, depicting aspects of life in the prison throughout its history.

Merryll Saylan talked about home and community as place. Some of her pieces had domestic themes; some were more broadly influenced by her environment (e.g., changing color palettes), neighborhood (urban, industrial), and community (family, friends).

Virginia Dotson focused on the geology and cultures of the American Southwest, showing images primarily from Canyon de Chelly. As a desert dweller myself, I have always loved her geologic layered work, and I was interested to see that her new work incorporates painted petroglyph and petrograph motifs.

Wendy Maruyama touched on the World War II Japanese-American internment camps in the United States but focused mainly on inspirations from visits to Japan and China. Her incorporations of hentai images from Japanese pornographic comics and iconic images of Godzilla were particularly amusing. She has also begun using digital video in her work, such as a video of an Asian woman (her sister) applying “dragon lady” makeup, seen through a two-way mirror in a piece.

After a break, the forum continued with digital-image or slide presentations by various artists, emphasizing future work.

I first discovered the exquisite naturalistic carvings of Janel Jacobson this summer in the collection of Fleur Bresler. Janel showed the progression of her work from relief carving in clay to the fully dimensional wood carvings she now does, and she shared some of her specific techniques. The detail in her work is astonishing.

Turner Dewey Garrett’s work always interests me. He is always exploring fresh ideas, informed by his background as an engineer. He has now built himself an ornamental-turning system, but he’s not content to stick with traditional rose engine patterns; he has written software for himself that enables him to create patterns on the fly.

Sculptor Michael Peterson is continuing to explore organic shapes and textures in his work. I find his work irresistible.

Sculptor Jack Slentz is playing with Swiss cross and gear and star shapes, and complementary pieces combining positive and negative shapes. He is also using new materials: stitched rubber and street signs.

Kerry Vesper, furniture maker and sculptor, is carving wave or flying-banner forms and blossom forms in plywood. He is also playing with collaborations with glass artist Alisha Volotzky.

Todd Hoyer and Hayley Smith say they haven’t been making a lot of art recently, because for the last three years they have been engaged in building their studios and a house. Their joint presentation was about just that process. It was particularly interesting to see how the process reflects their approach as artists; for example, the floor of Hayley’s studio is essentially a sample board of colors and textures they were testing for use in floors in their house.

After the presentations, I spent a couple of hours savoring the del Mano Gallery exhibition set up in the conference center. They had multiple pieces from some four or five dozen artists. I haven’t taken so many photos since the ITE. I would share some with you, but I think del Mano would prefer that I not. You can see a lot of work at their web site, however, so check it out.

Going to the forum also gave me the chance to say hello to some friendly faces I met through the ITE this summer: Elisabeth Agro, Albert and Tina LeCoff, Steve Keeble and Karen Depew, Arthur Mason, Joe Seltzer. Brief though my visit to the forum was, it really makes me want to get back to the work I’ve been distracted from by moving and shows and holidays and new toys. I have so many pieces just begun or even just sketched out that draw and build on my ITE experience. That’s the work that excites me most, but, alas, it must yet wait for another few weeks, until after my next show. It must wait because it requires space, psychic space, birthing space. In the meantime, I think about it, dream about it, plan it, work out the details. It gestates in me.

I have a major show coming up in just a bit over three weeks, so I’m trying to get in gear and get productive. This is just one of the business aspects of trying to make a living as an artist. It requires a different mindset than simply creating what is in my heart. Unlike many woodturners, I don’t have a production line, which means I don’t make the same item or type of item over and over. I do have to consider the marketplace, however, and make sure that when I do a show, I have available a wide range of vessels, in terms of price, size, shape, style, etc.—mostly so that I can offer customers choices, but also because variety makes for a more-inviting display.

Variety also, of course, keeps the creative process fresh for me. Even when I am focused on producing a lot of work efficiently, I still want every vessel to be uniquely itself. I want the process to remain one of creation, not one of mass production.

The upcoming show also means that I need to put off solving some equipment problems I’ve been having—chiefly with my chucks. The spindle on my old lathe was 1 inch; that on my new lathe is 1¼ inches, which meant that I had to change the insert on my old Teknatool Supernova chuck. The insert had seized, however, and in removing it, I appear to have damaged a jaw slide, as the slides no longer meet snugly at the center (and jaws don’t close properly either). The damage isn’t readily identifiable, however, and I’ve already spent one afternoon trying to pinpoint the problem. That chuck used to be perfectly centered, with perfect repeatability when I would remove and replace pieces. My new chuck, a Supernova 2, isn’t perfect, but I can’t spare the time right now to tweak it either. I’ll let you know what I figure out when I finally have time, after the show. In the meantime, I just have to make do. To quote Tim Gunn, “Make it work!”

The Steve Russell article on the Center Saver that I mentioned was actually in Volume I of his DVD, an e-book, not in Volume III as I originally stated (I have corrected the last post), and the article is also available on his website. Had I spent a little more time with the DVD I would have discovered that Volume III, which is a DVD video, actually has a video chapter on using the Center Saver. Now that I have viewed it, I’ll try again.

I also discovered in reviewing both the Kelton instructions and Russell’s article that they contradict each other on the height of the cutting blade. The Kelton instructions say, “Adjust the height of the tip so that it is EXACTLY ON OR JUST BELOW CENTER. (If you have the tip above the center, the tool will tend to buck and jerk when you commence cutting.)” Russell says, “The tip of the blade should be set at centreline, or slightly higher.”

I followed Russell’s recommendation and had the blade slightly higher than center—mainly because the tool post is too long for my lathe’s tool rest, so I couldn’t get the blade down to center without cutting the tool post, and I was too impatient to try out my new toy to stop and find a hacksaw.

Let that be a lesson to me. I will cut the post down and try again, at center and slightly above and below, and report back on what I discover.

An interesting week, not terribly productive in terms of finished work, but I did make progress in less direct ways.

I tried out my new McNaughton Center Saver. It wasn’t quite as straightforward as I was expecting. The biggest complaint I have is that the system comes with insufficient documentation. There isn’t even an illustration of the setup of the unit. And the instructions on how to use the Center Saver are minimal. I’m lucky: I have seen Mike Mahoney demonstrate the McNaughton system, so I had some idea of what to do, but without that experience, I would have felt pretty lost. I think Kelton should include at least a brief video of its use (on CD or DVD)—or at the very least make such a video available for free online. I know that Mahoney has published a DVD on using the Center Saver, and I trust that it’s good, since he is an expert with it, but it’s also $25. Instead, I used a helpful article by Steve Russell as a guide to using the system. (Kelton does provide a shorter version of the article on its website; I suggest you print it out to have on hand as you try out the system. The version I used came from the DVD Woodturning with Steven D. Russell, Volume I.)

I prepped two pieces of wood, one mulberry, the other eucalyptus. Both were heavily checked, and this may have caused some of the problems I had, though ultimately that didn’t appear to be the case. I started with the mulberry and the least curved of the curved blades, trying to remove the largest possible core. I cut the first couple of inches without problem, but then the blade began to catch, and catch hard, so that the lathe stopped altogether, and this with minimal forward pressure. I tried systematically adjusting as many variables as I could identify—widening the kerf, changing the angle slightly, pushing even less, making sure the blade was up against the cross brace, etc.—but the blade kept catching.

I finally switched to the eucalyptus chunk and fared better. I got much deeper without a catch, then when the blade did begin to catch, I was usually able to back off a little and resume without the lathe stopping dead—though it did stop a few times. Eventually, I was able to cut the whole core out. Woohoo! The wall thickness of the outer bowl was even fairly consistent, so I had followed the outer curve pretty closely.

I was exhausted by the effort, however. I went home early, and I was ready for bed by 7 p.m. that night, whereas (as some of you know from my posting times) I’m usually a real night owl. And I was clearly using muscles I wasn’t accustomed to using, because I had pain in my hand, my elbow, and my shoulder!

I haven’t given up on the Center Saver by any means, but I do have to set it aside for a while as I concentrate on preparing for my next show, which comes up in just a little more than four weeks. My inventory is still low from my fall shows, so I need to get in gear and get productive. In the meantime, if anyone has any suggestions on improving my Center Saver technique, please share!

Also this week, Pat and I rearranged the studio, relocating my old lathe to the opposite end of the room, in front of the garage door. I also finally installed pegboard on the divider behind my lathe, so I have my tools better organized and at hand, which will let me be more efficient. Of course, that means that the shop photos I just posted are already out of date. Ah, well.

I recently learned a Japanese braiding technique called kumihimo, using eight strands. The notched foam disk and the plastic bobbins make the process very simple and portable. This is my first project. I’m excited about the prospect of combining some braids (not this thick or this colorful probably) with some vessels. For scale, the disk is about 6 inches in diameter.

I’m gradually getting settled with my new lathe in my still-newish studio digs, but here are some pictures, finally.

I plan to install pegboard on the divider behind my lathe for easy tool access.

I’m still finding places for many things. In the meantime they clutter my work bench. Notice the handy space for wood storage below my bench.

You can see the lathe (a 1.5-hp Delta) and work space of the studio’s owner and my shop mate, Pat Reddemann, in the background.

Right now, my old lathe abuts the new one. The plan is to set up my vacuum chuck on the old lathe for both Pat and I to use whenever, without having to change the setup on our primary lathes. We will probably find a new spot for my old lathe soon, so I’ll have more working room at the end of my new lathe.

Pat got this new 18″ Grizzly bandsaw just a couple of months ago and has already gone through several blades.

This storage area and my tool chest area to my right as I face my lathe. The cabinet is full of wood. The shelves hold mostly half-finished pieces and finishes and solvents.

Pat and I share larger logs we’ve harvested together: a lot of mesquite, but also some African sumac and pepper tree.

Under the tarp is yet more of the wood I’ve harvested from locally felled trees, mostly mesquite.

This has been an amazing year, full of blessings and dislocation and pain and healing and promise and opportunity and redemption. Most of all, it has been a year of realizing how much support I continually receive from all of you—family, friends, fellow turners and artists, mentors and teachers, customers and collectors, would-be customers, gallery owners, program administrators and staff, students, blog readers, well-wishers—all of you who with your words and actions communicate your support for me and my artwork.

Because of your generosity in all its forms, I celebrate a year of successes small and large, an abundance of love, a wealth of prospects.

I thank you and wish you a happy and prosperous new year. May you receive back tenfold all you have given me.