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David needs no introduction to an Irish audience. He
has been in Ireland at least five times. He came to the Letterfrack
seminars in the 1980's. His last visit was to I.W.G 2002 seminar
hosted by by the Galway Chapter. So it is with great pleasure we
welcome David back.
David's exposure to woodturning began in 1958, when he
was fourteen. He received a Master's degree in sculpture in
1973.
David has worked in many media including metal, fiber
and polyester. His experience with working in clay led him consider
the intimate power of the vessel form.
By the mid-1975, he had developed a series of tools
that allowed me to produce thin-walled hollow forms through a
process I called 'blind turning'. |
"Bowl", 1976. Redwood Lace Burl w/Pau Ferro. 2 _"h
x 7"d
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"Vessel", 1981. Norway Maple Burl. 9"h x
5"d |
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"Mom & Dad…Thinking", 1984. Spalted Sugar Maple.
17"h x 6"d, 13"h x 10"d 
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David says "As both a maker and a
teacher, I am constantly reminded of the importance of remaining a
student of one's own work. This philosophy has allowed me to
remain receptive to many influences that surround me, including
objects from other cultures, the infinite variety of the materials
I use, and my own personal and spiritual connection to the vessel
form. The evolution of my work has therefore taken many
directions, each stage of which I see as the foundation for a body
of work that is yet to be realized.
My intent as an artist is to
translate thought into form and to create singular statements that
evolve through the integration of the material of wood with the
process of turning. I prefer to work in series where I can explore
ideas, challenge concepts and expand the dimension of my work into
a broad visual language. I consider the skill of my craft to be
the foundation from which my artwork has evolved, and that the
identity of each object is a glimmer of the collective body of my
life's work." |
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Fo", 1991. Ash, burned & painted 6"h x
4"d
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For david, the creative process takes shape as a
dialogue with the wood, which allows the vessel to achieve its own
identity and shape. " Because the wood is sometimes wet and
elastic, the surfaces actually move or distort during the drying
process. "I make no attempt to control this change. . . . Instead,
I consider this the period in which each object achieves its own
life, energy, and pulse. Thus, part of my dialogue is
understanding and accepting the risk of this change."
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"Homage Pot", 1999. Spalted Sugar Maple.
13"h x 10"d
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"The Question", 1990. Ash, burned.
Tallest: 12"
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Since the the late 1970's David has
been recognized as one of the most widely influential figure in
modern Artistic Woodturning. He has pioneered techniques which
have taken the wood turned vessel form into a whole other
dimension. David was a founder member of the American Association
of Woodturners and while his reputation and influence has grown he
has still retained a willingness to educate and share his vast
knowledge with the woodturning community.
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Don't miss this unique chance to see
and hear David in person
Saturday May 12th 2007 |
100 Spirit Vessels, 1995. Assorted
hardwoods. Tallest: 3"
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David has always been interested in the entire field of
Decorative Arts, and where woodturning fits into the over all
picture. Click here to view the text of David's Keynote Address to
the the Collectors of Woodturning Art titled "A View of
Ourselves"
For more information on David plus details of his woodturning
school click to link too David's own site
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