Bold & Original Designs Blending Tradition & Innovationomer: Katherine Duncan Aimone ART macros: Kris Fleer ‘cove pesiatetn: Bartz Zorctky ASSISTANT TOR. Nathalie Morn ‘assistant aat paucrow: Shansion Yokes nomena. assstanet, Delores Gosnell, Rosemary Kast romonal array, Rose MeLamey Ryan Shiateck! Amanda Wheeler peoomtapa: Kathy Sheldon Library of Congress Catalagingin Publication Daca 500 wood bevels :bold & original designs blending tradition & innovation f [editor Katherine Duncan Aimone} em, “Juried by Ray Leier and Jan Peters of sel Mano Gallery Los Angeles, Calilornia, and Kevin Wallace. independent curator and writer in the fed of contemporary cra art” Inctudes index. ISBN ES79004831 (pbk) 1. Art woodkwork-History~20th certury-Catalogs 2 Att ‘woodhwork-History-21st century-Catalogs 3. Bowls (Tableware) -Histony-20th century-Catalogs 4. Rawls (Tableware }Htstory-21st century-Catalogs. Tile Fve hundred wend ‘bonis I DuncamAimone, Katherine Letex Ray TV Peters fan.¥, ‘Wallace, Kevin NKSGIOALS 2004 A552 xotonsa9 98765432 Published by Lark Books, a division of Stering Publishing Co, ine ‘387 Park Avernue South, New York, NY 10016 © 2004, Lask Books Distributed in Canasta by Stering Publishing. fo Canadian Manda Group, 165 Dufferin Street “Toro, Ontarieg Canada MEK 3H Distributed in the UK. by Guild of Master Craftsinan Publications Lid ‘Cale Place, 16 High Street, Lewes, East Sussex, England 'BN7 IXU “Tok: (+ 48) 12S ATTICS, Fae (4-44) 1273 47D “Email pubstithegmegroup cary Web: worn gmepublications.com Dintrbusted in Australia by Capricorn Link (Australia) Pty Ld POBox 704,Windtsoe NSW 27535 Australia ‘The writes instructions, photographs, desis patterns, and projects im this wolurne are intended lo the personal use Of the reader and thay be teproduced foe Ul purpeme ‘onty Any other use: espectally commercial ese. forbidden under nw without writen [permission ofthe copyright holder. I you have questiogstor comments shout this book, please contact Lark Books 7 Broadway ‘Ashevtlle NC 25801 (C805) 25MGT Manufactured in China All rights reserved ISBN 1S 7HOKHContents Introduction 6 The Bowls 10 About the Jurors 416 Acknowledgments 416Introduction The wood bow! isan object that has been utilized for centuries by diverse cultures. As part of our everyday lives, itis so familiar to us that it can easily be taken for granted. Yet, lor contemporary artists who work in wood, the bow! represents a form with tremendous potential, from revealing the beauty of nature to sharing an artistic vision or concept. 500 WOOD BOWLS Over the last few decades,the wood bowl has been reinvented as an artis. tic medium and is today approached by artists. and craftspeople all over the world as both iconic form and point of departure forseltexpression. Many of the bowls in this book are related to the woodturning movement that grew out of a number of pioneering artists working in different regions, inspired by wide-ranging approaches. They include a member of the Chicago Bauhaus, James Prestini,who has been credited with the birth of this new art form; Bob Stocksdale, who refined the turned wood bow! in his Northern California workshop aver five decades; Mel Lindquist, who was creating hollaw vessels on the East Coast; and Rude Osolnik, who lived on 4 mountaintop in Kentucky and took a folk-craft approach to the vessel, While these artists had no intention of pioneering a new art form, they experimented with new approaches and created work that came to influ- ence many wood artists who followed. The mest important of these, Mark Lindquist, David Ellsworth, and William Hunter,took it all to the next Bob Stocksdole Untitled, 198) 3h x 6"diam (8 x 15 em) Ebony Photo by M, Lee Fatherree Collection of Forrest L. MerrillJevel, creating new standards and pushing the craft into the realm of art, ‘Over the last two decades.a number of artists became part of this new mavement, contributing more ideas and pushing the field ahead. ‘Of course, the work in this book represents a wide range of technical approaches, from chisel to chainsaw and router to bandsaw Some artists carve on the surface of their vessels or utilize paint and mixed media approaches, while many accept what nature has offered and simply sand and seal the wood. Along with the potential to create thinner, more complex forms, technical breakthroughs have allowed wood artists to create vessels. Since wood can't be used to hold liquid, these forms macde little sense as vases. Yet these new forms expanded the language, just as lids offered the potential of container forms. While being expanded upon in relation to utilitarian forms, the wood bow! also came to be abstracted and deconstructed, offering an excellent point of departure for sculptural pursuits. It is no surprise that the wood bowl has come to serve as a means of selfexpression for artists internationally Historically wood bowls and ves sels have been used for their decorative potential in the Western world and. for ceremonial purposes in the East and in indigenous societies, Due to David Ellsworth Ratag, 1991 17" x 24"w x 12°d (43 x 60 x 30cm) White ash with pigment Photo by the artict 500 WOOD BOWLS500 WOOD BOWLS technical and aesthetic breakthroughs, today’s forms offer bold and origi nal approaches They echo their rich history present contemporary visions, and carry the vaice of nature itsel 500 Wood Bowls presents an international array of work created for both tarian purposes and artist exploration, featuring artists crucial to the development of the contemporary approach and the best ol a new genera tion of artists who continue to explore it-The work in this book is, indeed, the state of the art. —Ray Leier and Jan Peters ct de! Mano Gallery, las Angeles, California, and Kevin Wallace, independent curator ond wrtar in the field of contemporary eral art James Prestini Untitled, circa 1945 Photo by M.Lee Fatherrer Collection of Forrest L. Merrill Rude Oselnik Untitled, 1984 Elm burl Photo by David Peters Collection of Forrest L Merrill ‘wx 6'd (I x 18x IMelvin Lindguist Hopi Bowl, 1882 Mh x 14"diam (35 x 35 em) Maple but Photo by Paul Avis Studio 500 WOOD BOWLS Mark Lindquist Amiran Krates 1980) 12h x H"diam Mahogany Photo by Robert Aude Collection of Robert Roth, (30x28 cm)500 WOOD BOWLS The Bowls Joson N. Roberts Service Try, 2002 16h x Bw x 2h2'd 41 x 20x 6cm) ‘Tumed, oined, and carved mahogany with ebony accents Phote by John LareasJason Russell Pilled Apart, 2000 xB'wx i'd Gx 20x 20 em) ‘Tumed and carved cocobolo Photo by David Peters Collection of Bob Bohlen 500 WOOD BOWLS HW500 WOOD BOWLS. 12 Peter Kevacsy Clase Ties, 2000 Sith iahadiam (13x53 em) ‘Tumed and carved jarrah Photo by the artistV Kim Kulow-Jones Fruit Bowl, 1992 Sth x 27'wx 13"d (13 x 60 x Bem) ‘Tumed oak with painted handles bent laminated legs; painted maple leet Photo by Mark Johnston Rip ond Temi Mann ‘Anniversary Bowl, 2002 h x 19°diam (14 x 48.cm) Handhhewn black watnast Photo by Paul Matthias Collection of Ferris and Ann Maloof 500 WOOD BOWLS a500 WOOD BOWLS Jobo H, Williams Adrift, 2001 American ¢ Photo by Lee RuthMike Phillips 4200751, 2001 Wh x M"diam (25 x35 em) Turned land pine Photo by Pat Murray 500 WOOD BOWLS500 WOOD BOWLS Wayne ond Belinds Re Three Balls and a Prat. 16Wayne ond Belinda Ra Plate with Batt, 1959 Tr‘ x 10%diam (4 x 25cm) Soft maple. painted with acrylic lacquer Photo by Wayne Raab 500 WCOD BOWLS WV500 WOOD BOWLS500 WOOD BOWLS Jeremy Comit Untithed. 2001 xO diam (8x Carved walnut and Brailian rosewood Photo by the arist “| never liked the lathe, | feel it's restricting, That's why | carwe....I'm interested in ‘organic and natural forms. The protruding carved parts on this piece ore like seed pods, litle buds, or nodules. They ac like handles ond are very sensual end soo Fot mo, they are nice forns to carve and look ot." J.C W500 WOOD BOWLS 20 Gianfranco Angeline ‘Untitled, 2002 Wah x 1212"diam (11 x32 em) Olivewood; cotton yarn and epoxy resin Photo by David PetersJoshua Selesin Untitled, 2001 47h x 6la*diam (10x 17 em) ‘Tumed madrone Photo by the artist 500 WOOD BOWLS 4 opasdl500 WOCD BOWLS 2 Robert J. Cutler Preasure, 2001 4¥8"h x 6'diam (11 x 15 cm) Alaskan birch and maple burt; mammoth tusk, brass. copper and silver Photo by David Peters Collection of Fredric NadelS WIL OD BC Oy ‘00 WC iam Maple burl with texture Photo by George Post g, inlaid fused silver and gold “These bowds ore tum sa are made by fusing the m sed ‘ond textured. The in . made of 108 toxch, Then they're together with a recisely fined to the openings In the rims belore they'te epoxied inio ph h is applied to the piece.” —A.S 23500 WOOD BOWLS 24 Dewey Garre Yellow Pair, 2002 6V2"h x 10l2"diam (17 x27 em) ‘Tumed palm wood, bleached and dyed Photo bry the artist palm tee removed in a steet renovation project, | was somewhat perplexed, Unlike familicr tee trunks with annual rings, palm wood is composed of @ sah, wet, pithy substance dotted with hundreds of tough, vertical fibers. Afer | turned a bow! or lathe, | found that it was diffieul to sand and subject to chipping. Akar some on, | found that scraping and bushing the surface revealed the hard 1g lexture of this piece.” —D.G. experimer d fuzzy filaments that make up the interem) | Cherry painted with acrylic: gold leat | Photo by Lee Rutherford 500 WOOD BOWLS “This piece began with o calabash of Howatlian origin, which led me to think of vokanic colors. The red/orange hue creates a glowing interior. The tipped position of the the textured slice of ld resolve the composition AW. Giles Gilson Internal Spring, 1980 —-o————___——— 10'diam (25 cm) Sculpted walnut Photo by Rick Siciliano Collection of Mike Mendelson ri)500 WOOD BOWLS 6 Williom Hunter Fast Gass, 1995 4h x 8M"diam (10 x 20 em) Cocobolo rosewood Photo by George Post Collection of Mint Museum of Craft and Design *For years I've used the illusion of motion fo lend fo my vessels. By sculpting the implied forces of convey my feelings ef the notural werd through t500 WOOD BOWLS Kovacsy Stone Tem a500 WOOD BOWLS Dewey Garrett Parallax in Red and Black, 2001 Oo -- ~ Thx Sw xd (28 x 20x 1m) ‘Tamed and reassembled walnut,ebonized and painted with red epeny resin Photo by the artist 28Giles Gil Cammy-Oh 3, Highlights from the Muse, 2002 6h x Fdiam (15 x 23cm) Bowl form, lelt Lapel. full Boppy collas, walnut rosewood foot teal interior Photo by the artist 500 WOOD BOWLS Andrew Potocnik Razorback If, 2003 x diam (6 x20em) Turned and carved myrtle Photo by the attist500 WOOD BOWLS Ken Keoughan Tucay Ceremonial Sextet, 2001 m (10x. ‘Tumed and carved mahogat Photo by Dick CoddintGhristionn Jirg Untitled, 2003 244"h x Mla"diam (7 x 37 em) Turned walnut Photo by C. Haatbeck 500 WOOD BOWLS 88]500 WOOD BOWLS 32 Photo by the artistBobby E. Phillips Untitied 33500 WOOD BOWLS. 34 Heinispherical Bowl 1/01, 2001 Thx 4¥ediam (5 x em) ‘Turned and carved ash, scorched Photo by David Peters Collection of The Contemporary ‘Museurn, Honolulu Lim Flyan Untitled, 2003 IDM x IT w x 1512" (29 x 43. x 39 cm) Tumed and carved oak ebonized Photo by the artistAlen Stirt African Series Bow!, 2002 Se"h x 6le"diam (14 x 15 cm) ‘Tumed and carved maple, dyed Photo by David Peters Collection of David 5. Forney 500 WOOD BOWLS 3500 WOOD BOWLS 46Hamish Hill Jetsam, 2000 ‘667 x 1B"w x IB (167 x Hand-carved silky oak; ster! Photo by the artist 500 WOCD BOWLS a7500. WOOD BOWLS 38 Gene Pozzesi ‘diam (12 x 13 cm) Makassar ebony Photo by M.Lee Fathenree Collection of Forrest L.Menill Joshua Salesin Untitted, 2003 Sha Vdiam (8 x Wem) ‘Turned English beech and holly Photo by the artistEd Moulthrap Untitled, circa 1985 10"h x 16"diam (25 x 41 cm) Figured tulipwood Photo by M.Lee Fatherree Collection of Forrest L. Merrill 500 WOOD BOWLS wadMike Sheler 40Christopher Reid Meeting of Minds, 1994 o———————————————_. 18% x 1 ‘ac Carved sheoak with ebonized rim Photo by Victor France William Henter Spirit Dwelling, 1991 267h x Sw x 54d (66 x 20 x 15 Cocobolo rosewood: gold leaf and ink Photo by George Past 500 WOOD BOWLS 41500 WOOD BOWLS 42 Giles Gilson Commy-Oh 1, 2001 Gla*h x 11Vadiam (17 x 28 cm) Tamed and carved basswood, lacquered Photo by del Mano GalleryBinh Pho Love, 2000 4¥2%h x Tdiam (11 x 18 em) Maple, dyec, 2k gold fea! Photo by the artist Collection of Steve and Julie Eckert 500 WOOD BOWLS 43500 WOOD BOWLS Peter M. Petrochke Window Vessel Series, 1990 17h x 17'diam (43x 43 cm) Hand-carved laminated white ash Photo by Frank Poole 44500 WOOD BOWLS 46 Joshua Solesin ‘Natural Edge Cork Oak Bout, 2002 6%h x BN diam (15 x 22m) ‘Turned cork oak Photo by the artist Collection of R.Wedeen Marepnan, JaUMUEHHbIA aBTOPCKMM NpaBoM(15x Laminated oak: steel wire Photo by Francis Howard xem) 500 WOOD BOWIS 47$00 WOOD BOWLS Gene Portesi Untitled, 2001 4¥5"h x4°diam (11 x 10 em) Olive Photo by M.Lee Patheree Collection of Forrest L. Merrill 48500 WOOD BOWLS Alfred Sils Steepy Holtow, 2002 Sth x 6b2"diam (20 x 17cm) Buckeye burl with textured rim; Inlaid fused silver and gold Phato by Bernard Wolf Collection of Drand Mrs. Seymour Levin ayBobby E. Phillips Umidled, 2002 T¥rh x 1702"diam (19x44 em) Spalted maple, sterling silver chain Photo by the artist 500 WOOD BOWLS : 5 "diam em) ‘Turned sweet gum Photo by Randy Batista Frank Amigo Large Flawer Farm ah x jam (11 x44 em) Carved silver maple Photo by DeForc-Fearson Photography 109300 WOOD BOWLS N0 ‘Turned and carved locust burt, sandblasted and bleached Photo by Roger SchreiberDerek A. Bencomo Still Dancing, First View, 2000 = 5 Tumed and carved pink ory Photo by Hap Sakwa500 WOOD BOWLS {M2 Andrew P, Dunn Porcupine Quill Fruit Bowl, 20008 South African pine,ebonized. inlaid porcupine quill Photo by Rob Duker Studio Dovid Nittmann Net, 2002 Wrdiam (13x Tupelo Photo by Beriko Photographics n) “This piece was inspired by @ Japanese fishing net with Hoots.” —D.N“I become interested in the plight of sea turtles cher reading an article about them ‘Mankind, pollution, fishing, and so forth [as well os their natural predators} have all hod an impoct on their lives. Out of a thousand hatchlings, only one of those litle guys makes I! 10 adulthood! Iwas shocked by that fact: In this piece, we're paying homage fo an onimal that has lived millians of years and is now threatened to 0 great degree by man’s Hfestyle, | asked Journe! Thomas to tun bow of this porticular shape, and | ploced it on my toku piece inspired by en ancient Persian ceremonial stand,” —G.C. Gary Clontz ond Jourael Thomas Ceremonial Offering Stand (Hatchtings) 18h x 14"diam (46 x 35 cm) Greentumed maple; thrown, cut,and abtered clay base, stenciled, glazed, and raku-tired Photo by Robert Gibson 500 WOOD BOWLS 13500 WOOD BOWLS 4 lay Foster Tempte Bowl, 200) Photo by the artist EMO fof OO ‘ Phota by Gary Heateda Silver Lining Series #5, 1986 1h x 14¥¢°diam (23 x 38cm) Pau marfim plywood, anilinedyed and painted with acrylic Photo by Al Abrams 500 WOOD BOWLS ESRobert Jones Exposed, 2003 $00 WOOD BOWLS Phx 1diam Gx 30cm) ‘Tumed and carved lace sheoak, painted blac Inlaid white opals Photo by Tony Carroll “This piece exposed beth the beauty hickden in the tree and the beauty of the epals hidden in the earth." —R) 16Tom Conoty Tequita Sunrise, 2001 2h x 1M*diam (6 x 29 cm) White ash burl Photo by Dermot Cleary 500 WOOD BOWLS. Horvey Fein Open Rimmed Key Series, No. 4, 2002 hx Suardiam (5 x Mem) ‘Tumed paduak burl; embellished Photo by David Peters iw500 WOOD BOWLS We Grilio Marcelongo 2003 hx Idiom (15 x 46cm) Blackwood Photo by Allan Foon "Observation of things around us is the key to originality in ort horms, whether one is turing wood of creating sculptures. This piece evolved from observing o fying squirrel with outstretched legs.” —G.M500 WOOD BOWLS Sh x Maw x Med (19 x24 x24 em), Mahogany Photo by Charles E. Carlson opoxiun Wawon‘Susam Link Untitled, 2002 Thx 5'diam (18 x 13 cm) Tumed cherry and carved basswood Photo by Bob Gibson 500 WOOD BOWLS Mickoel J. Brolly Frog Bowl 2, 1 >———___________ h ‘wx 8d (10 x 10x 20cm) ‘Tumed and carved mahogany, maple, bubinga,and ebony Photo by the artist Collection of Irving Lipton “This piece rocks ‘on its feet.” —MJ.B500 WOOD BOWLS 12% x 16"diam (30 x41 cm) Tumed and carved black walnut burt Photo by the artist Collection of Robert Bohlen g my work, I simply think in terms of no verbal process | go through. | bring forms in @ way that | think is unusual ns viewers to fill in their own details. | don't jen meaning, so | make up words for | start with the vessel so that poople can hing thot was once functional made into ing norrtunck HM, Hugh McKay Suash, 2002 19°h x Hdiam GB x 35 em) ‘Tamed and carved maple burl Photo by the artist Collection af Robert Bohlen 123uring hundreds of plain bowls, | wanted to ry something different. I wanted a natural, yet unnatural feel. My interest in spiders and insects surfaced in Scurry and then expanded fom there. | really like making bowls with legs. They look as if they could get up and walk off as soon as you put something in them, Gne lady said she could just hear the clicking of litle feet os this piece ran for the dark!” A.W. 500 WOOD BOWL: Ashton Woters Scurry, 2002 Gh x diam (15 «35.cm) Turned maple. carved walnut legs, ebonized with leather dye: Photo by Stucey Evans 124Orion, deals loosely wi dromatic evening stax cof the bowd a skyscope ond attached s ath the int * familiar constellations. Reminiscent of these exper my experiences growing d exterior of the vessel.” —.G. Joey Gorthrath Looking for Orion, 2002 5 hx 16° Mahogany Photo by m0 x 41cm) sterling silver 500 WOCD BOWLS500 WOOD BOWLS 126 Photo by Bill GleasnerMichoel Lee ‘Mai ‘Elua Moana, O Ekahi Lani (From Two Seas, of One Sky), 2008 = —__—__——— xSVIW x6 (@x9x 15cm) Carved cherry, acrylic 23k gold leaf Photo by Robert Diamante Francis Morin Night Sky Bowl #14, 2006 = 3 a a 3 Oo = 2 & 8 V2?500 WOOD BOWLS Matthew Bostick Embryo Bowl, 2002 xt (10 x 30.x 25 em) Live oak Photo by Prerre Montagnet wal 128“Almost os soon as | began experimenting ore elabe hod to try something thon my fi waters of the Red Ser ith ys fascinates side of you! | w Léon Locoursiére Parting Waters, 2003 ed with acrylic Photo by Grant Kernan 129BOWLS 500 WOO 130 Hors Weisstlog Rocking Bowl, 1999 tw xvod e = 50th x [diam (14 x 35 om otk Island pine Photo by the500 WOOD BOWLS 144 Sean Ohrenich Constricted Dream af a Cle 1OVeTh x bw x8 Turned and carved Photo by Allan McMakin 4x 23cm) Terri L. Cadman ond Journel Thomas The Source, 2002 87h x 19'w x 20°d (122 x 48 x Sl em) Turned spalted holly with handeanved Honduran mahogany Photo by the artistand Bill Mullin 500 WOOD BOWLS 145500 WOOD BOWLS 146 Bill Luce aandscapes in Holly Se x10" x be (17 825.29SIMO8 GOCM 005 M7500 WOOD BOWLS “148 x H'diam (15 x 35 em) ‘Carved plywood and purpleheart Photo by Baroch RimonDennis Stewart Natural Edlge Bowl, 1983 xSlr'd (Gx Hx 13cm) Photo by Kevin Wallace Burr Coren Untitled, 1998 Thx 1Fdiam (8% 33 cm) Constructed mahogany with dyed anigre veneer Photo by Tim Barnwell Henry Schour Tiger Maple Bowe, 1986 2Vith x 12°diam (6 x 30 cin) Tiger maple Photo by the artist 500 WOOD BOWLSiP Hackberry Bow!, 2001 4h x Fdiam (12.x Zi em) Spalted hackherry Photo by the artist 500 WOOD BOWIS Wendy W Untitled, 2001 <9 ——________— x Sdiam (18 x 20cm) Carved cherny ebonized Photo by Jeff Baird 150a Matthew Hill Untitied, 2001 3h x diam (8x 23 em) Mahogany Australian lacewood, and ebony Photo by David Peters 500 WOOD BOWLS 151John P. Hatfsin Good Moming. Va"h x 12'diam (11 x30 em) Curly maple with pyrography;dyed Phota by the artist 152Stephen Hotcher Late Autumn, Early Winter, 2008 hx 18°diam (8 x 46 em) ‘Tumed fiddleback bigleal maple; inlaid green, red, and honey calcite. black mica, ‘gold Heal, white dotomite,and blue azurite dust Photo by the artist 500 WOOD BOWLS "453500 WOOD BOWLS 154 Thomas Ravschke ond Keoren Wiken ‘Canyon Ruins. 1986 17h x Tdiam (28x 18 cm) ‘Tumed and hand-carved rec! oak; inlaid with cotton embroidery Photo by William Lembe “Canyon Ruins iso prime example of o piece thal has.@ myslery ond a story, In if, you are exploring the canyon lands of the Southwest, and you come upon the ruins of on ancient pueblo, The patter of the crumbling stone walls can still be seen, and there is a cache of pottery and baskets, os well os petroglyphs on the canyon walls. Though the rvins seem deserted, they are inhabited with numerous birds, lizards, ond mammals corved into the scene. In the very cenier is the kivo with @ carved lodder going down into the chamber. You cern just glimpse inside where the ancient ceremonies took ploce, ond you con almos! sill hear the chaniing and smell the smoke, i's like having your own archeological zone, and you can go exploring there anytime.” —T.R. and K.W.x4em) Turned and carved! maple burl. dyed Photo by Chuck Fu Collection 0 FAnn Summers 500 WOOD BOWLS.500 WOOD BOWLS 156 Yoav 5. Libermon State of the Union, 2003 2h x Ba diam (9x Tumed maph Photo by the ist David Lory Yellow Birch Burt Beet, 2001 3h x 13"diam (8 x 33.cm) ‘Yellow birch burl Photo by Larry SandersTerry Martin Suspended Vessel, 2000 hx }Pdiam (15 x35cm) ‘Turned and carved coolibah burl Photo by Russell Stokes 500 WOOD BOWLS9 a a Ss Q ° a 158 n (28 x 23-cm) id carved laminated bi naple.ciyed ‘Stephen Gleasner Xylophobia (Fear of Wood), 2002 es x Fdiam (12 x 8 em) Tumed birch plywood and maple Photo by Bill GleasnerDewey Garrett r tw x 122 ad and assembled oak,bh 6i2"h x Tun Fi bby the artist500 WOOD BOWLS 160 Morion Rondelph Ambensia Maple Bout oODavid Lory Sumac Wood Bowl. 1998 ah x 10" ‘Tumed sumac Photo by Larry Sanders 10x 25cm) 500 WOOD BOWLS 161500 WOOD BOWLS 162 Kenneth Godway Battseye, 2008 HYPh x 1Urdiam em) Turned butternut erotch with natural edge: Photo by the antistRude Osolnik Phate by David F 198 ‘we AV ebony lection of Forrest L. Mentill Bill Luce Untitled, 2003 lah x Btw x Tad (17 x 17x 9.0m) ‘Tumed green cherry with natural edge Photo hy Richard Nicol500 WOOD BOWLS 164 Burr Coren Untitied, 1995 shed§ 500 WOOD BOWLS Eucled Moore Photo by J Messina 165The Cirle Factory Large Oale Bou! with Antique Finish,500 WOOD BOWLS 167500 WOOD BOWLS 168 Michael Bavermeister Spiral Vessel, 1995 4h x 18%diam (10x 46 cm) Carved laminated silver maple Photo by John PhelanDovid Nittmona 500 WOOD BOWLS hx Wdiam (10x 35.em) Birch Photo by Benko Photographics ; : “The original design for this piece is a continvaus line pattem with all nine fans connected and throe sets of three patterns laced.” —D.N. oF 16?500 WOOD BOWLS 170Groeme Priddle500 WOOD BOWLS 2 Robert Monbal Cusp, 2002 Thx 1S wx Se x ‘Tumed and sculpted banksia with natural edge Photo by Fons Photographics"Most of my life has been spont in rural Australia where the land is both harsh and sensvous, stipped bare but generating lile. The forms cof the noturol world, such as the lips of opening seed pads and the founded smoothness of stones and shells sculpted by the sea, have become 3 source of inspiration for the forms | create.” —G.¥. ‘Untitled, 2000 “hx 10Vew x 14d (19x ) Turned and carved Australian rosewood Photo by David Young Collection of Daniel Silver 500 WOOD BOWLS500 WOOD BOWLS V4 Mark Solusbury Frontrunner, 2001 x22¥diam (8 x 56 cm) Figured bigleaf maple, dyed, brazed ferriers nails Photo by the artistBrendon Collins ‘Untitled, 2002 TW47h x 12°diam (4x 30.em) ‘Turned Huon pine inlaid with rosewood, purplebeart, king woud, fiddleback blackwood, and ebony veneers stained black Photo by Victor france 500 WOOD BOWLS Preston and Kip Christensen Emeraid iste, 20003 Teh x tov xem) Figured poplar Photo by Bon Daioe 5500 WOOD BOWLS 176 Philip Moutthrop Mixed Mosaic Bow! 2003 oF 13diam (25 x 33 cm) Pine, chermgoak, coda and mimesa embedded in resin Photo by the artistCaryl Brit Nut Bow 3*h x Tdiam (8 x 18 cm) Tamed and carved hollzacrylic paint, scratched Photo by Tim Barnwell 500 WOCD BOWLS V7500 WOOD BOWLS WaAndi Wolfe Autuma Midnight Series, 2003 22h x6'diam (G x 15 cm) Curly maple with pyrography, colored markers and metallic acrylic paints Photo by the artist 500 WOOD BOWLS. ul9500 WOOD BOWLS 180 Michael de Forest Suture Series Bowl: The Frog Bow!-Rebirth and Transmutation, 2003 Thx M'diam (10x35 em) Basswood with incised line carving, milkpaint; waned nylon sinew Photo by the artist “Almost every plece of artwork | moke is a portrait or representation of humon characiex, The Suture Series came from my ctraction to breaking things dawn and reassembling them. To combine these Wwo interests, | used the simple shape of a bow! to illustale how people are an accumulation of experiences ond choices Each port is dependent on the other to make @ whole person ‘One of the things | tuly enjoy is watching the surprise: on people's faces when they first pick up the bowl and realize how light it is and how i! flexes and moves in their hands.” —M_F.Alan 8. McBurney Horsechestnut Leaf and Fruit, 2003 Leat:2°h x 10°w x 13" (Sx 25.x 33 cm) Bigieal maple burl, box elder, ziricote,and padauk Photo by the artist 500 WOOD BOWLS 181500 WOOD BOWLS 182 Peter Schlech W. Phillip Krym Night Lily, 2002500 WOOD BOWLS Frank Sudo! Ribbon Bowls, 200002 23x 13cm) ch, painted Largest lig ‘Turned and carved Photo by the artist Collection of Bob Botilen 183vad (28 x 50x 11cm’ 1 cherry.pa 184500 WOOD BOWLS Coy Foster Font, 2001 18*h x 12"w x 8d (46x30 x 0m) Makassar ebony;stone and brass. Photo by the artist Stephen Mork Polsen Figure #1, Female, 2002 LIVe'h x 3¥8'diam (28 x 9 em) Koa and ebony Photo by Hap Sakwa 185500 WOOD BOWLS 186 John B. May Vim and Vigor, 1908 ) ‘Tamed laminated curly maple, ebony. lemonwood, and black«lyed costello Phota by the anist Untitled, 1993 5UsTh x BH EbonyMichael Werner Troubled Water, 2002 hx BV wx dd (Bx 17x Wem) ‘Tumed fir and hawthome Photo by Rachel Olsson 500 WOCD BOWIS 187500 WOOD BOWLS 188 Michoe! D. Mode We Remember, 2002 74"h x 10V¢ diam (18 x 25.em) ‘Turned laminated spalted maple and walnut Photo by Bob Barret500 WOOD BOWLS 1892b hx S'wx5'd (6x 13x 13 cm) ‘Tamed English yews blowiorched Phot by the artist 500 WOOD BOWIS Guilio Marcolonge Scallop Foot and Rim Bowl, 1999 87h x 10°diam (20 x 25m) Red gum Photo by Allan Foon Collection of Norene and Dale Nish 190500 WOOD BOWLS Christopher Reid (Out of Orbit, 82 he 1B w x SH (14 45 x 40 Carved shenak Photo by the anist npaelSl500 WOOD BOWLS 192 Michelle HolzapfelFred Matlock Roped in, 2008 "hx liam (9 x 30 cm) Tumed hand-carved walnut Photo by C.Richard Chartrand 500 WCOD BOWLS 193500 WOCD BOWLS 194 Evelyn Mitchell Ethereal Memories, 2003 15*h x 11"w x 30d (38.5 28 x 76 em) Found wood, acrylic paint Photo by Gerhard Heidemberger Collection of Mr and Mrs, Fred Sonnenberg jece was bull using such found objects as an old knile holder @ part from @ watch fepairer’s toolbox, and a7 ttt shop: bow,” —E.M.Rebert Howard Late Summer, 202 hx [wx 20d (23 x43 x59 em) Handhcarved Australian red cedar Photo by Greg Piper Collection af Lee and Dodie Baumgarten 500 WOOD BOWLS iM FED BON500 WOOD BOWLS 196 ‘Butch Smuts (16x69 x 59 cm) Turned bushveld resin tree burl Photo by Wayne HawardThx 120a"w x 28d (2x 32x 70 em) Tumed and sculpted red gui Photo by Foons Photographics Vic Woed Prototype Nod, 1993 20hx Ily'wx 6d (51 x 29x 15cm) ‘Tumed and carved sheoak Photo by Tony Boyd 500 WOOD BOWLS 097Jakob Welssfleg Bowl by Numbers, hx Tiediam ‘Tumed elm burl Photo by Hans Weissflog Lace and Swirls #15710, 87 mm (8 x 20cm) 2h xs) Turned and handcarved myrtle crotch Photo by the artist 198“Lwas @ portrait pointer and then @ patter before bocoming 2 woodumner, As | cored the rim for the hoodies, @ nose appeared, and the res flowed naturally." —S.C. 500 WOOD BOWLS ‘Ston Clorke Face Bow! with Handles, 2002 18'h x Bbw x 11"d (46 x 22 x28 em) ‘Tumed and carved bigheaf maple Photo by Robert McConnell can mad ay500 WOOD BOWLS “The central lily in this plece acts a5 the handle to lift off the gloss top.” TR. and KW. ‘Thomes Rauschke ond Keoren Wiken Pond Bowl, 1986 ‘hx Sdiam (15x 13 em) Spalted maple with other hardwoods, embroidery glass Photo by William LemkeSIMO8 GOOM 00S a ‘Tumed sycamore Peter Archer Untitled, 200: Photo by David Bradiord 201OD BOWLS Or 500 W 202 David Sengel foan Plane, 1991 . bleached locust thors Photo by Michay Collection of Ron and Anita WomickAndrew Potocnik hx 15¥4'w x 7¥2"d (13. x 40x 19. cm) Tamed yapunyah Photo by Neil Thopmson Collection of Texas State Bank Corporate Collection 500 WOOD BOWLS Matthew Bostick Spiked Bawt, 2002 art x Law x 1V2'd (14 x 28x 29 em) Mulberry peat and charred oak Photo by Pierre Montagne! 203William Hunter Free Vessel, 2002 500 WOOD BOWLS 12h x 18'wx Tumed, sculpted, and reassembled cacobolo Photo by Alan Shatter 204 na eurarepenau ritRon Flaming rayon Dance, 2002 17" x 19°diam (43 x48 cm) Redwood burl Photo by Bob Hawks “Asa child, | loved stories ond fa dragons....| wanted these to be hape so seary, dancing around the baw! an good time. | geneinied « hoppy feeli soll, smooth lines instead of harsh ones. 500 WOOD BOWLS 205SIMO" GOOM 00S 206ake LL it lla “| call my work ‘basket illusion.” | have studied basketry, including Islamic, Abican, and Native American, | like the intticate detail in the weaving. My work speaks to that detail... Just as photos are mada fom dots, | break up the surface into a lot of litle rectangles, and then | enhance them with color. From that [pattem], an image appears.” —D.N Dovid Wittmann Anasazi Burien, 2002 3% x 1S'diam (Bx 38cm) Holty Photo by Benko Photographics 500 WOOD BOWLS. 207500 WOOD BOWLS 208 Steven B. Levine Landscapes. 1002 landscape. ‘an see the many —S.BLStephen Hughes | For Ronald 8. Perry #148, 200 209500 WOOD BOWLS Arthur Bernard Cooper 2008 Thx 12'wxSt2'd (18.490 cm) Sheoak, carved with pawer tools Photo by Steven Blakey Brion M. Devis Bowl with Hotes, 2002 12"h x 159¢'diam (4 x 40 cm) Sheoak Photo by the artist “The rim decoration on this piece \was inspited by the medieval illuminated gospel The Book of Kells.” —B.M.D 210 MaTepian, aauiMiMeHnbiA aBteJack deVos Untitled, 2002 AV2'h x BVa'w x 4d (11 x 21x 10cm) Sheoak Photo by Tony Carroll 2)500 WOOD BOWLS 22 Mano Kinzler Ray, 2002 Th x23'w x Td (18 x 58 x 18. cm) Silky oak, ebonized; aluminum Photo by Jean-Pierre Hericher Matepuan, 3au\uueHHii asTopckHM npazom500 WOOD BOWLS Sammy Fong ond Journel Thomas Bifurcated Bowt, 202 6h x 1 x 9d (15 x 28 x 23. em) Turned cherry, bronze Photo by Sammy Fong 23500 WOOD BOWLS 24 Holger Graf Untitted, 2003 Th x 7V2"diam (18 x 19cm) Oak with sapwood, colored with ammonia Photo by Frank Miller Fotodesign‘Walnut burl with natural edges: stitched Photo by Bob Stender 500 WOOD BOWLS. Phil Brenaion Ritwal Remnant, 1992 ‘Blah x 5¥a"diam 0x2 cm) Turned and carved juniper burl, sand blasted; braided leather Photo by the artist Marepian, saubulentists aeTopckam npabgpMichelle Re J Holzapfel Ha ot Bowl, 186Gorden M. Word Turned Green, 2002 a _ Wh x WFdiam (x 1.em) ‘Tumed and carved leichhardt pine, automotive lacquer Photo by The Woodtuming Center avBruce Mitchell Star Chamber, 1987 218Jerry Kermode Untitled, 2002 8"h x 912"diam (20x 24 cm) Maple burl with natural edges; walnut stitches Photo by Bab Stender 500 WOOD BOWLS Bruce Cohen Patient Wornan, 2002 5¥2"h x 9'diam (14 x23 cm) ‘Turned bigleaf maple burl, broken and reassembled Photo by Joshua Cohen500 WOOD BOWLS Vic Wood In the Family, 1987 23¥2"h x 21¥2"w x 7d (59 x 55 x 18. cm) Matepuan, sauuujeHHbit asTopeKum npaBom 220 FFriedrich Kuhn American Maple Experience No.2, 2002 GV4°h x 18V2"diam (16 x 47 em) Turned and carved maple Photo by John Carlano 500 WOOD BOWLS 221500 WOOD BOWLS Norfolk Island pine Photo by the artist 22 Matepiian, sal"The pieces | create are all carved by hand. Much thought and deliberation is applied to each piece before the carving or turning even begins. Ideas for my pieces always originate from nature; | constantly observe my natural surtoundings with open eyes and mind. Each piece of wood also has a unique grain and texture, and | always find that the wood itself dictates its ultimate composition. | pay closest attention to this when selecting the right piece of woad to carve.” —N.O, Nikolai Ossipov 9¥2"h x 12V4"diam (24 x 30cm) Turned and carved birch Photo by David Peters 500 WOOD BOWLS 223500 WOOD BOWLS Michelle Holzaplel Linenfold Bowl, 2001 Thx Mw x Td (28 x 35 x 16.em) Carved curly maple Photo by David Hotzaptet “This piece is inspired by traditional linenfold carved panels used in intetiors.” —M.H. m4D. 6. “1 Untitled, 2000 S¥a"h x 7va'w x 8¥2"d (14 x 19x 22 em) ‘Turned green Russian olive with natural edge Phota by John Havener 500 WCOD BOWLS Nancy Anderson Endurance, 2002 9va"h x 2302'w x 14 (24x 59x 37 cm) ‘Turned and hand-hollowed found burl and root Photo by Brad Stringer 225D BOWLS 500 WOO Raymond C. Ferguson Untitled, 2000: Thx 16"diam (18 x41 cm) Laminated walnut with inlaid spalted oak twig Photo by Chevron Photography Permanent Collection of Arrowmont School of Art and Crafts 226Broce Smith Untitled, 2002 Iw x7'd (14 2.35 x 18 ‘Carved New Zealand puri, rubbed with ‘oll paint, verdigris; beach stone Photo by Stephen Jones 500 WOOD BOWLS at500 WOCD BOWLS 4V2"h x 10¥2 Tured sheoak Photo by Greg Triges 228Marion Randolp! Cedar Root Bowl, 2002 Mh x 23°diam (35 x 58 cm) ‘Tumed and carved cedar root ball with natural edge Hiroko be Jobin, Laces 500 WOOD BOWLS. vEEMox Krimmel Vessel #107, 1988 302*h x 24*diam (9 x 60 em) ‘Tumed laminated mahogany,padauk,and maple Photo by the artist 500 WOOD BOWLS. 231500 WOOD BOWLS 232 Wikelci Ossipor Fabric Bowl, \998 V4 x 5t2"diam (10 x 14m) ‘Tamed and carved sycamore and maple Photo by the artist Collection of Fleur Bresler “This bow! wos turned and carved to imitate a bow! sewn from various fabrics, Each stich and sting was carved from one piece of sycamore, the fine grain of which resembles fine cloth.” N.O art Untit raard Cooper 1995 GW" x 15¥a'w x 5'd (17 x 40x 13. cm) ‘Sheoak, carved with power tools(10x 19 x 10.cm) ‘Turned red gimlet burl Photo by Tony Carroll 1S 500 WOOD BOW! 233“Many af the ideas that influence my pieces come from Benin, Africa, where thay have wonderful altars. These altars pay homage to ancestors and are covered with elaborate bronze busis, carvad tusks. ond other offerings. My highly carved surfoces drow their influence from these eloborate offerings..." —M.G Mark Gardser Offering Bowl, 2008 Sw x 13d (6 x 65 x 33 cm) Turmed and carved walnul,painied Photo by Tim Barnwell Collection of Ogden Museum of Southern Art 500 WOOD BOWLS 235OWLS Bi Red, White, and Blue, 2001 Th (18x 4 cm) ‘Tumed maple, bleached, dyed, and oil stained Photo by Hap Salwa 236500 WOOD BOWILS Terry Golbeck Bar! Cullen (surface decarotion) Hush 1, 2008 Phe dw xaled Gx Wx9cm) Turned ash, milk paint with earth pigments Photo by Ellie SmithAndrew P. Duna 37h x 21¥2"diam (8 x55 em) Poplar;shell detail Photo by Rob Duker Studio Collection of Drand Mrs. F Struwig 500 WOOD BOWLS Mike Darlow Bound Bowl, 2002 S*hx 13°diam (23 x 33.m) ‘Turned silky oak; stainless steel wire and spring Phote by the artist 238 Marepuan, 3aujuueHHbit aBTopeKuy500 WOOD BOWLS Stephen Mark Poulsen Ebony and Satinwood Bo: 2003 5e"h x 278" diam (6 x 8 cm) ‘Tumed, machined, and fabricated ebony satinwood, and vegetable ivory Photo by Hap Sakwa 239SIMOS GOOM 00S 240ieee Léon Lacoursiére Storm Watcle, 204 500 WOOD BOWLS 2414 Beb Elliott z Citrus Blossom, 2003 o o> ——__— a 24i"h x S'diam (8.x 13cm) a Tumed and carved grapefruit oO Photo by Greg Stephens Oo ° Bob Nichols Untitled, 1994 4¥2"h x 10°diam (11 x25 cm) Turned and carved cypress Photo by Ditk Wittenberg 242Theo. D. Alles Beetle Work, 2008 Oo SUath x Gli w x Fd (BN 1S Scotts pine Photo by the artist 500 WOOD 24300 WOOD BOWLS 5 244 John B. Moy Libra, 2000 ShxIEwe 30x 10.Gmy Swiss pear ebony. and blackdyed costello Photo by the artist Peter Schlech SMA. Series 23, 14) 13%h x 8'w x 6" (33 x 20x 15 em) Australian woolybutt with ebany accents Photo by the artistRon Laypert Fish rs, 2WOOD BOWLS 10 50 Derek A. Bencomo Still Dancing, Second View, 2001 So xi 3x41 c Tumed and carved Norfolk Ish Photo by Flap Sakwa500 WOOD BOWLS David Groth Mollusk #2, 2000 th x 2084"w x 1194"d (35 x 53 x30 cm) ‘Carved myrtlewood Photo by the artist 247500 WOOD BOWLS Cort Theobald Dance of the Bison, 2002 x 19 cm) Segmented turned holly pemambuca, and wenge Photo by the artist 248 “This piece, inspired by an ancient Hopi ceremonial mask, contains 473 pieces of wood," CT.500 WOOD BOWLS Eucled Moore Untitied, 2000 15h x 14°diam (28 x 35 em) Ash, padauk,wenge, mahogany.and maple Photo by J. Messina 249500 WOOD BOWLS Robert Manhal SW2, 2001 1V2°h x 19"w x 31°d (4x 48x 78cm) Red gum Photo by Foons Photographics 250Camphor Photo by Stephen Francis Edger Ingram ‘Untitled, 3003 Brn xT wx 20rd x 18x Gem) ‘Turned ambrosia maple Photo by Chuck Adams 500 WOOD BOWLS500 WOOD BOWLS David Senge! Untithed, 1995 | 252Michael J. Peterson Coastal Shell, 2000 4h x T'diam (10 x 18 em) ‘arved locust burl, pigmented and sandblasted Photo by Roger Schreiber 500 WOOD BOWLS. 253500 WOOD BOWLS Evelyn Mitchell Red und Gold Cetebration, 2003 ~o _ Mw x 9°d (30 x 35 x 23 cm) nt and gold leat Photo by Gerhard Heidersberger and © poly ating.” —E,.M500 WOOD BOWLS Michoe! Werner Remember Kindergarten, 2002 Veh x 6V2'w x SM'd (Bx 17x Mem) ‘Turned green cherry:painted with acrylic and seratched Photo by Rachel Olsson: 255500 WOOD BOWLS 256500 WOOD BOWLS Clay Foster Temple Bowl, 2003 23°h x 14"diam (58 x 35 cm) Oak, elm,and soft maple; brass wire Photo by the artist 258Fletcher Cox Homage to Rude #6, 2001 18h (xem) ‘Tamed laminated Baltic ‘birch plywood with ‘contrasting infil Photo by the artist ‘Collection of Renwich Associates 500 WOOD BOWLS. 1h x 12 diam (4x 0 em), Turned medium-lensity fiberboard with Huon pine veneer inlaid with ebony and black palm, stained black Photo by Victor France 259500 WOOD BOWLS 260 Joe Dallorso Round Rim Satad Bowl, x0 Slarh x 15'diam (Mx 38.cm) White ash with sporadic heartwood Photo by Robert Diamante Dovid Lory Box Elder Bowl, 1999 hx 15%diam (10x38 em) Turned box elder Photo by Lary SandersJohn Dodge Meyer Ancient Form, 1993 Phx 7'diam (5 x 18 cm) Zebrawood Photo by the artist Collection of Colin and Elizabeth Krieger Cooke 500 WOOD BOWLS 261500 WOOD BOWLS. Christion Burchard The Two, 1998 ee Largest: 1°diam (33 cm) Tumed green madrone burl, sandblasted Photo by Rob Jatfe Collection of Tom and Laura Yan Morn 262500 WCOD BOWLS Joe Dallorso Untitled, 2002 Largest: 1 34x Mem) Smallest am (24 x 8.cm) Tumed soft maple burl Photo by Robert Diamante 263500 WOOD BOWLS Hunt Clark Untitled, 1996 — Oh x 20" x 12"d (23 x51 Carved walnut Photo by Gary Heatherly 264SIMO’ GOOM 00S Wendy Wilson 265Abe Homm Shallow Bowl, 1992 ee Oo : 2°h x 8'diam (5.x 20cm) Cocobolo Ph y Photography West jon of Carole Zawyrucha 268500 WOOD BOWLS 270 Anthony Brysi Tall Vessel, ‘Wh x 15%diam (76 x 38 cm) ‘Tumed green London plane Photo by Steve Tanner Gi Unie 4 3¥"h x3 Va'diam (8 x8 em) Pink ivory Collection of Irving Lipton500 WOOD BOWLS Ron Kent and Donald Derry Island Spirit Wornan, 2003 8'h x 12"diam (20x 30 cm) ‘Turned Norfolk Island pine,etched and colored with pigment Photo by Donald Derry an2 Stig Bredsgard s Untitled, 2002 0 15¥4"h x 1394°diam (40 x 35 em) QO Green tured European etm bur O° Photo by Jens Heine }O Collection of John Sonderup s 2 So 6 ‘Alon R, Wright Bowl/Art Piece, 2002 @'hx 1diam (15 x 28 cm) Box elder Photo by Michael Wallace Imagelink Studio Collection of lan and Carolyn Taylor yyBinh Pho Bamboo Forest, 2001 —o 4h xT diam (10 x tem) ‘Turned and pierced ash with natural edge Photo by the artist Collection of Joe and Thuy Hoberstorjer = 500 WOOD BOWL 273Neil Kagan Floating Spiral, 2001 oe 2007h x 67a'diam (3 x 18 em) Turned and carved poplar, bleached Photo by the artist 500 WOOD BOWLS Beny J. Scorpin Carved Boxt SVrhxOrdiam (0x 23 em) ‘Turned and carved walnul, bleached Photo by Judy Ditmer 14 Natepnan, saulLarge Flower Form, 1998 } x 19°diam (15 x 48cm) ‘Box elder, bleached! Photo by Direction 1 500 WOOD BOWLS“Lwanted fo design 0 piece to celebrate motherhood, The cradle form with pods represents a mother rocking her babies to sleep, each of which has inherited @ trait of the mother.” —MLL 500 WOOD BOWLS Beh x [wx Bla" (10x 28 x 22 em) ‘Cocobolo, ebony.padauk,and yellowheart Photo by Hugo DeVries 276500 WOOD BOWLS 278 Nell Scobie Wave Rin Bows, 2003 67h x 12'diam (15 x3) cm) Tumed and carved Huon pine and ebony Photo by the artist “The tim is meant fo depicl the roaming waves of the nearby ocean, while the lags give the bowl c lighter, more elevated, look,” NS.500 WOOD BOWLS Trent Bosch Oyster Bowl, 2002 29500 WOOD BOWLS 280 "With this piece, we wanted to create a landscape bowl that could change with the seasons, One side of the lid is summer with pine trees, a pond with a sky teflection embroidery undemeath, and form fields of various hardwoods. Flipped over, the other side of the lid shows the same scene in winlar, using holly as the snow and maple as the: thodows of clouds floating over.” —TR. ‘Thomas Rewschke ond Kooren Wiken Two Season Landscape Bowl, 1987 Th x6"diam (18 x 15 cm) hand-carved black walnut with other hardwoods; cotton floss embroidery Photo by William Lemke Collection of Feldstein-Hanna500 WOOD BOWLS William Smith Lotus Petats #2, 2002 z 498'diam (Gx 11 em) Se 1 bloodwood, chakte: viga, ai es PhBroce Mitchell Termiced Moon, 1997Galen Corpenter 00.20, 2000 8Vz"h x BYE di Turned royal p and narra: pine cones. Photo by George Post Collection of Susan West 284Fh xGwx 7d x 15x 18cm) Laminated pink ivory ebony and maple. Phote by the artist Collection of Louise Gunn 500 WOOD BOWLS Robert Howard Synergy, 2001 12h x 182 diam (30x AT cm) Handécarved Australian red cedar Photo by Greg Piper Collection of Alan and Joy Nachman 0285SIMO8 GOOM 00S 286500 WOOD BOWLS Robert J. Cutler ina Spin, 2002 4¥¢h x 6'diam (12 x 15 en ‘Walnut burl, spatted birch, luan,and diamond willow: moose antler fossilized walrus tusk, mammoth tusk, b copper.and silver Photo by David Peters Collection of Ray Lucas 287500 WOOD BOWIS Robert Howard Ribbon 288Hunt Clark Untitled. 2001 9h x 2"w x Hd (23 x 5x 28 em) Carved Osage orange Photo by Gary Heatherly 500 WOOD BOWLS 289500 WOOD BOWLS 290 Ashion Waters Intrusion, 20 207 x 1I"w x 15d (51 x28 x 38cm) ‘Tumed maple and poplar, ebonized with leather dye Photo by Stacey Evans diam (10 x 30 em) Chip-carved basswood and walnut Phato by J. Anthony500 WOOD BOWLS Raymond C. Ferguson Dual Centerect Bathe mW.G. Neddow Leopard Bowl, 2003 302"h x 10M Hard maple Photo by LightWhisps Fine Art Photographers (x 27cm) 500 WOOD BOWLS 293500 WOOD BOWLS Gran! Voughon Carved Form, 2000 1 white beech 294| 21V2"h x 92"w x 62d (55 x Mi x 17 em) Carved sheoak Photo by Bo Schmit 500 WOOD BOWLS500 WOOD BOWLS 298 Michelle Holzeptel Cushioned Bow!l, 1968 Thx 12'diam (18 x 30cm) “Tumed and carved maple,woodburned Photo by David Holzaplet Collection of Peter Joseph “Cushioned Baw! is concemed with the interpenetration of natural and manmade worlds. To insure visual integrity, | used @ single block of curly maple, rather than @ constuction cof a tuned bow! attached to a carved pillow. The unlikely juxtaposition of forms and textures reinforces the sense that this object is reaching beyond daily reality, | refer to this type of work as o silll life rother than a tompe l'oe!l plece....A still ile transcends the ‘emusing visual joke cr facile exhibition of skill inherent in trompe l'oeil: tis, rather, ‘an abject of contemplation and inspiration.” —M.HJohn Noyes Untied, 2001 n (13 x38 cm) ed aspen Photo by Gretchen Duykers 20D BOWLS 500 WO 299SIMO9 GOOM 005 Peter M. Petra 3002 $ 6 2 a 3G ° = Q ° 3 Butch Smuts Desert Flower, 2008 11" x 25tarw x 2202d (28 x 64 x ST cm) Turned green English oak burl with natural edge Photo by Wayne HawardSIMO# JOOM 00S Stephen Hoghes 303500 WOCD BOWLS 304 Martha and Jerry Swanson Freeform #1, 1990 22h x 10'w x 9d (56 x 25 x 23. cm) Bandsawn cherry zebrawood, satine, and maple Photo by Margaret Benis Miller Colleetion of Brett and Susanne Boedecker Matepu AL NWCHHbI ABTOPCKMM NPABOMBuzz Coren Untied, 1999 ‘Ph x F'diam (10x 23 cm) Contructed maple, Ebon-X,mahogany and EbonX gy Photo by Tim Barnwell Collection of Contemporary Museurs, Honolulu 500 WOOD BOWLSBill Luce Selene, 2002 Sha Tw x Glad (19 x 18x 15cm) Turned green holly Photo by Roger Schreiber 500 WOOD BOWLS. “This bowl, named for the moon goddess, was tuned green with the grain deliberately aligned so. thot the distortion from drying cleaied a graceful lift in the tim and bead, infusing the piece with extra life.” —B.L 306 f‘Corel Amy Reth Sacred Amutet, 2002 She (13x 18x 1S em) Turned cherry burl with natural edge Photo by Ballour Studios “The simplicity of this bowl shows off the intricacies of the chery butl,” —CAR 500 WOCD BOWLS 307500 WOOD BOWLS 308500 WOOD BOWLS bi ii Gary Stevens Vortex #8, 2003 Th x 22'w x Hd (28 x 58x 35 em) Fiddleback maple Photo by Paul Ttangos 309500 WOOD BOWLS 310 Phil Brown Maple Vessel, 1995 The x 17Usdiam (18 x43.cm) Spalted maple with burl buds Photo hy the artist Collection of Renwick Gallery. Smithsonian American Art Museum Matepnar JAUIMIEHHbIA aBTOPCKMM NpaBoM$. Grant Christison Bout #151, 2001 x13} Madrona Photo by the artist 20x34 x 18cm) ) WOOD BOWLS 500 au500 WOOD BOWLS “Tha two images in this piece are mittor images of ‘one another, The one on the fight is @ positive image and the one on the left iso negative image.” —B.P. Binh Pho Reflection #3, 2002 312"Becouse | om @ gardener, flower The bowl form is @ great cralagy far a Caryl Bra Mabe, 1995, Turned and carved holly patted Photo by Tim Barwell 500 WOOD BOWLS500 WOOD BOWLS Poul Stafford Butternut Hollow Vesset with Three Zippers, 2003 S*h x GVe*diam (13x IT em) Tured and carved butternut Photo ty the artist G2 common thing in on unexpected plo and for it to he do hal", ‘Can that actually function?" or ‘lst that! an inte piece?" | don y work 40 be so limiting and esoter that only @ few understand it.” —P.S, enerake thought and “ont 314Pav! Stafford Four Leaf Spalted Maple Zippered Bowt, 2003 ava x ITdiam (11 x 43 cm) Turned spalted maple Photo by the artist The concept of incorporating zippers ings in this piece come log and wished that | could open it before cutting 1© Oper me when | looked at a @ inside —PS 500 WOCD BOWLS500 WOOD BOWLS Bill Henjok Hfybrid If, 1997 ° - hx x4tcm) ‘Tumed laminated bubinga and lacewood: paper Photo by Leslie Parsons “This open bow! was und mitered staves to cteate the lamination before turning built using co“In my carved pieces | create shapes with freelowing lines inspired by our natural environment. We live in a seting surrounded by rolling hills that meet the Pacific Ocean not far fram our home. | draw inspiration from the imagery of the beach, the windblown patterns on the sand, and the shape and form of the waves. The legs are also curved, carrying the theme. They give height to the piece and create the illusion of it floating, making a very fine point of contact with the display surface." —N.S. Neil Scobie Wave Rim, 2008 4h x 11°diam (10 x28 em) Red cedarand ebony Photo by the artist 500 WOOD BOWLS “8500 WOCD BOWLS Helga Winter 7 x Wc atyed with aniline; wax resist Schreiber 318Mott Moalthrop Geddar Spire, 2003 Sth x Sh"diam (13x Mem) ‘Tumed cedar Photo by Philip Moukhrap 500 WOOD BOWLS. “The cedar branches for this bowl were sacked horizontalhy, cast in resin, and then tuned as one piece.” —M.M. 320 Marepnan, sawn bid aBTOPGKMM Npasam“The name Keeper has @ personal story behind it. | remember a time when | was a boy out by our river locking for a Chrisimas tree. When | spotted one across the ice, | ied to lead the horse over, but he wouldn't go. The ice gave way in front of me, nearly sending me into the swirling current below. Years late, | learned that these whirlpools are also known as keepers, because they drag you under and won't give you back.” LL Léon Lacoursiére Keeper ll, 2002 =O x 5m) Curly maple, painted with acrylic Photo by Grant Kernan Collection of Peter M, Shannon 500 WOOD BOWLS 321“A small fuitwood log inspired me fo think of crate of apples." —M.S. 500 WOOD BOWLS Merryll Saylen Harvest: Crate of Bowts, 2001 a x lwo llld x ‘Crab apple wood and pine, polyc! Photo by Hap Sakwa Mano Kinsler Exposé, 2003 Fh x wx 28/4 (Bx 25 x Jarrah, acrylic; metal Photo by Jean-Pierre Hericher 322Gary Clontz « th (Ceremonial Offering Stand, 2002 18° x 14"diam (46 x 36 em) Green turned oak burl; thrown base with coppersaturated glaze, slip resist, raku fired Photo by Robert Gibson 500 WOOD BOWLS 323Peter M. Petrochko Tent Series #1, 19 1Fhx [diam (30 x 30cm) Hand-carved laminated mahogany, rosewood, ebom and purpleheart ‘Photo by Frank Poole Collection of Warren and Bodil Braren 500 WOOD BOWLS Jay Whyte arlet Widow Th x 10"diam (18 Leopard wood a Photo by the artist cm) 324500 WOOD BOWLS Michael D. Mode The Celebrant, 2002 7*h x 10"diam (18 x 25.cm) Holly,purpleheart,and pink bory Photo by Bob Barrett 325Hervey Fein Flutedt Bowl with Coc 300 WOOD BOWLS 326“A fourstep process was used fo carve this piece ater rowing reference lines with on indexing wheel.” —TH, 6h x8"diam (15x 20 em) ‘Tamed and handcarved chochen Photo by the artist 500 WOOD BOWLS500 WOOD BOWLS diam (46 x 79cm) ‘Tumed green brown oak Photo by Steve Tanner “With laige pieces such os this, the original piece of wood can weigh up to 250 pounds (113.4 kg], but end up as light as 5 pounds (2.3 kgl.” —AB. 328Jock Fifield Natural Edge Cherry with Foot, 2000 329500 WOOD BOWILS Aris Ruicens Orchid Bowl, 2008 2 —————— hx Bw 3x Bem) Box elder maple; inlaid copper Photo by Richard Walker 330Bob Stocksdale Untitted, 1980 Pittosporum Photo by M. Lee Fathertee Collection of Forrest L Merrill 2 I WOOD BOWL OC 5 333WLS. WOOD BC 334 John Ecuyer For the Return Home Vessel, 2002 m) alyptus saligna and ebony sather, pava shell, oxidized eopper Photo by the artist500 WOOD BOWLS John B. May ‘Untitled, 2000 Thx M'diam (15 .x:35 em) Turned laminated mahogany: cutly maple, holly and black costello Photo by the artist Matepian, sawnuleHibi® aatopoxum npasdas500 WOOD BOWLS John Dodge Meyer Woodturner’s Pallet, 1988 = F % 13"diar Black walnut crotch Photo by the artist 336500 WOOD BOWLS Stephen Hatcher Untitled, 2002 4h x 12"diam (10 x 30 cm) ‘Tumed spalted beech: inlaid calcite, fuorite,and azurite Phote by the artist pr AULHWLEME ropcKwm npacday500 WOOD BOWLS 338 Untitled, 1989 —o Seath x Seediam (10x 1 em’ Mango wood Collection of Forrest L Merrill500 WOOD BOWLS Michael Hampel Clamshelt, 2002 Sh x 15'wx l6'd 2003841 em) Carved maple burt Photo by the artist 340500 WOOD BOWLS Guilio Marcolengo Untitied, 1999 hx tad 342500 WOOD BOWLS John Hansford Untitled, 2008 d ( Hand carved mallee root Photo by Patrick Baker Dennis Elliott AZOSi Sculpted Vessel, 1987 ‘diam (46 x 60 em) Jeaf maple burl h Tamed and carved big Photo by lona 5. Ellictt 343500 WOOD BOWLS 344 Peter Kovacsy500 WOOD BOWLS Hancecarved Australian ted cedar Photo by Greg Piper Collection of Detroit Institute of Fine Arts 45$00 WOOD BOWLS Nancy Anderson Solitude, 2082 d (13x hx law 4 cm) ‘Tumed and hanchbollowed yellow cedar burl and found root Photo by Brad Stringer Ambrosia maple with natural edge Photo by WHH“There is no steam bending or chemical manipulation in my work, | siort with a solid piece of green of wet wood, Using a hydroulic chain sew, | conve the inside of the wessel first. | then refine the form using an arsenal cf carving tools. It is then cllowed to dry, refined again ond sanded to completion, My process is spontaneous, much like jazz improvisation, | om conscious of the natural bork ‘edge and like to create a sense of flow. I'm inspired by the tree’s natural form. | attempt to bring ‘out the beouty and spirit of the free in harmony with the form thot is created.” —B.5. 500 WOOD BOWLS Brad Sells Whirl, 2003 20° x "wx 18d (51 x 86 x 46 cm) atin opccum npasdd?500 WOOD BOWLS hx 9'diam (8 x 23cm) Jarrah burt inlaid powdered brass Photo by Dominick Walsh 348500 WOOD BOWLS Jim McPhail No, 28, 2003, 2008 188°h x 442"diam (Sx Hom) Imbuia and buckeye burl with black castelo, benin (African mahogany),and bard maple veneers Photo by Tia Barnwell Brian Donahue Ash Bowe! 2000 8th x 4diam (2035 em) Striped ash Photo by Jim King Royal Images Collection of Marla Bobowiek 349Mark Salusbury Rural Religion, 1996 br7h x 10°diam (11x 25cm) Figured bigleaf maple: oxidized barbed wire Photo by the artist 500 WOOD BOWLS hx Al2diam (6 x 22 cm) Tumed Scottish oak, ebonized Photo by David Samuels 350Michael Lee and Hans Weissflog Rocking Pod Bou x 15x 14cm) Cocobolo and rosewood Photo by Hugo DeVries 500 WOCD BOWLS 351500 WOOD BOWLS Timothy Francis Double-Handted Bout. 2 hx Ie wx. ‘Tumed Osage orange Photo by the artist“Generally, my designs are predicated on the size Col Eishoff and giain of the raw wood. My syle is to create @ Untitled, 2002 simple stolement without o lot of frills." -C.E Gh IF diam (15 x30) ‘Tumed laminated beam (for home construction) and Douglas fir Photo by the artist Ed Moslthrop Untitled, cirea 1980 7h x 8V2'diam (10x22 cm) Sugarberry Photo by M.Lee Fathermee Collection of Forrest L Merrill 500 WOOD BOWLS 353Derrick A. Te Poske Heavy Cherry Bout #1, 2001 500 WOOD BOWLS 6h x 10'diam (15 x25 cm) “Tured black cherry woodburned Photo by the antst 354WLS a a Q Bruce Smith Untitled, 2002 hx 14"diam (8x 35 em) Walnut Photo by Stephen Jones Philip Movlthrop Untitled, 2002 jae ee 62h x 18¥4"diam (17 x 35 em) Ash leaf maple Photo by David Peters 355500 WOOD BOWLS. Williom Smith Fourth of duty, 2008 lah x Sty'diam (5 x Mem) Segmented holly purpleheart, and pau amarello Photo by the artist 356Yellowheart and wenge Photo by the artist 500 WOOD BOWLS 357500 WOOD BOWLS Michael J. Brolly Spider Bovet 2.1980 35 x41 em) ed inaple and chery Photo by the artist 358 Matepnar500 WOOD BOWLS 360 Mork Hants ‘The Darkling, 2002 Sth x Sta"diam (13x Mem) Tumed and constructed ebony, silver and 14k gold Photo by the artist2 = 3 a a 9 © = ° o B 361 Stephen Mark Paulsen Ebony and Blackwood Bow, 2008 3Vi7h x 3V diam (8 x 8cm) ‘Tumed, machined, and fabricated ebony and blackwood Photo by Hap SakwaPhil Brown Spalted Holly Vessel, 199 BVT x 9°diam (8 x 23 em) Spalted hotly Photo by the artist500 WOOD BOWLS 364“Working with butl is like breaking open @ geode ond discovering hidden treasure. The natual exterior of the bul is rough, but my tumed work creates a surface thot is lke o polished gemstone. The gilding [gold leal] accentuates the natural texture of the wood. Gilding the inside of the piece creates a glow where you would leas! expect it." —C,D. Cindy Droxda Jarrah Bowl and Blackwood Lidded Bow!, 2003 4° x6"diam (10x 15 cm) Turned jarrah burl and African blackwood; 2k gold leat Photo by Tim Benka 500 WOOD BOWLS 865500 WOOD BOWLS Steve Sinner Untitled, 2002 11¥2"h x 8'diam (28x 20 em) Pierced oak Photo by Steve Sullivan Collection of Janet and Van Korell 366 Matepman, 3aunujeHHbint aBTOPCKMM mpaBom500 WOOD BOWLS iam (1B x drone, dyed with aniline Photo by Roger Schreiber Collection of Br Steve Schart Poul Feinstein Flower Bow!, 2003 6th x 18*diam (15 x46 em) ‘Tumed, bent, and carved Eucalyptus nicholi Photo by Kate Cameron 367OD BOWLS 00 WOC 5 Michael D. Mode Great Embrace, 2002 eee hx 15"diam 38 cm) Ziricote, bloodwood, and padauk burl Photo by Bob Barrett 368Michael Bavermeister Vessel #26, 1994 1"h x 13"diam (25 x39 cm) Carved laminated ctverry patina Photo by John Phelan 500 WOOD BOWLS Dennis Stewart ‘Borel, 1984 Vhxdlrw x sd @x10x9em) Lilie Photo by Kevin Wallace5 D BOWL 00 WOOT 5 satinwood and African bony; plastic Photo by the Collection of Frederick Oei nist 370John Eeuyer Pacific Armour Vessel, 2001 1H x M'diam (50x 35 erm) ‘Tamed black maire; oxidized copper Photo by the attist 371Bruce Smit Unt 2 500 WOOD BOWLS 372500 WOOD BOWLS500 WOOD BOWLS 374 Arbutus Flower or Madrone Flower, 2000 36 Th x20"diam (18 x51 cm) ‘Tumed green madrone burl Photo by Ian Batchelor x4¥4'w x3"d (29x 12 x8.cm) Tumed and carved red morrel burl Photo by Craig Richter500 WOOD BOWLS Thomas Ravschke and Kaoren Wiken Garden Bowl, 2000 O— x 18cm) ved black walnut; embroidery iam Lemke Charles A. Wustun Museum of Fine Arts hn coll | le in hoBrenda Behrens XY Ballet of the Leaves #215302, 2003 = 4¥0°h x 4¥4°diam (12 x 10cm) Q Turned and hand-carved a carob wood } Photo by David Peters Oo 2 Oo 5 “This piece was inspired by my philodendons with their interesting twists ond turns,” —B.B. Art Liestmon Am Stow but Expensive, 2003 Dah x S7¥'diam (x 10cm) Pierced bigleaf maple burl Photo by Kenji Nagai 3i7500 WOOD BOWLS 378 Th x 15"w x 10¥2"d (18 x38 x27 cm) ‘Tumed and carved sycamore Photo by Tony Boase Matepwan, sau\vujeHHbi aBTopckMM npasom500 WOOD BOWLS Art Liestman Kind of Blue, 2008 serylic ink and dye 379SIMOs GOOM 00S 380500 WOOD BOWLS the cat startles birds on my feeder, These birds David Groth flight remind me of this sculpture’s upward thrusting lines Flight #3, 2001 | carved the piece, | allowed the form to and in the finishing stage, accentuated its 174" x 21V2"w x 15¥2"d (46 x55 x 39cm) Carved myitlewood with smooth edges and planes. In my pieces, | Photo by the artist creatively explore space defined by the bow! or in the form of abstract sculptures.” —D.G. 381500 WOOD BOWLS Phil Flame ~ #arh x 15tardiam (10x ie Photo by the awn 2002 Ash Cfoth, x idem) med ash, woodbumed Photo by Tim Barnwell | 382‘Som Lewinshtein Untitled, 2000 Sx Iw x 10°d (19 x 46x25 cm) Maple burl: cocoboto legs Photo by Tony Cuillerier 500 WOOD BOWLS 383500 WOOD BOWLS Jason Russell Stand Alone, 2000) We" x BV2"w x 32" (4 x9 x9 cm) ‘Turned and carved Gabon ebony Photo by David Peters Colleetion of Michael Benson cat Bowl 6/97. 1997 cm) 3v2h x 82"diam (9 x English sycamore, scorched Photo by David Peters 384SIMO8 GOOM 00S Liem Flyan 3855 a a Q Q o Pe Lowe Felicity Peters (metalsmith) Flight, 199 2veh x 1¥aw x Sycamore plywood: st Photo by Victor Franc cm) gold keurn boo | 386John Jordan Walnut Bow! with Handtes, 199 500 WOOD BOWLS500 WOOD BOWLS 388 Jenny Kendrick c, 20088Jim McPhail No. 226, 2000, 2000 1V2"h x 278°diam (4 x8 em) South African cape beech, buckeye burl, tchitola, and white oak with ‘wenge and white oak veneers Photo by Tim Barnwell 500 WOOD BOWLS 389500 WOOD BOWLS 390 Harvey Fein Closed Rimmed Petal Series, No. 8, 2003 a aaa ee 2M x 7Ha"diam (3 x 19cm) Turned bloodwood and bird’seye maple; embellished with router and shaping tools Photo by 2. James Dee “As wih all my work crisp lines, fowing curves, ‘ond smooth tansitions are intonded features." —TH Tom Harvard Untitled, 2003 ‘diam (10 x23.¢m) Turned mahogany; textured with dremel Photo by the artistTem Harvard Untitled, 2001 500 WOOD BOWLS 5h x diam (13 x 13 em) ‘Tumed and hand-carved mahogany with black lacquer Photo by the artist “To create this piece, I drew a grid onto the painted surface. Alter that, | carved it heeband.” —T.H a9500 WCOD BOWLS Brien Sykes Desert Rose, 2002 1 Wrdiam (32 x 25 em) ‘Turned bloodwood, Brazilian cherrgand wenge Photo by the artist 392Martha ond Jerry Swanson and John ond Merk Bakula Pattern Bout, 2002 Sth x 1S'w x Td (20 x 34x AS-cm) ‘Stack laminated cherry.satine, and purpleheart Photo by John and Mark Bakula Collection of Mrand Mrs. Ted Lintord 500 WOOD BOWLS 393394 Mike Shuler Zebawood Bowl, 2002500 WOOD BOWIS Mark Nantz Hardtlebars, 2002 Oo Thre Gxi5x ‘Turned and constructed mesquite butt and ebony: silver and Mk gold Photo by the artist 395500 WOCD BOWLS Largest: 16°diam (41 em) Turned green madrone burl, sandblasted Photo by Rob Jafie Collection of Museum for Contemporary Art, Honolulu 396500 WOOD BOWLS indy Drezda ‘Eucalyptus Burl and Desert Ironwood Bowl, 2003 ah x 6lydiam (8x 17 em) Turned eucalyptus gum vein; desert ironwood rim and foot; 23k gold leat Photo byTim Benko 3a500 WOOD BOWLS Don Mant Untitled, 2001 4h x 6%diam (20 x 15 em) ‘Walnut burl Photo by Binh Pho Collection of Binh and i Pho Alfred Sils Eye Turn, 2001 hx Avy" diam (15 x 11 cm) ‘Thuya burl; inlaid copper, silver and gold Photo by Bernard Wolf opcxum npady?500 WOOD BOWLS Anthony Bry Wey alge Fon rh x 9diam Turned gre Photo by Gareth McCarthy 400500 WOCD BOWLS Edric N. Florence Untitled. 16 x 30 aple, torch embellished Photo by Peter § Collection of Mr Raymond Wong 401Gene Porresi Untitled, 2000 4U7h x 6'diam (10 x 15 em) Makassar ebony Photo by Hap Sakwa 500 WOOD BOWLS Gene Porzest Untitled, 1994 4h x 3¥C'diam (10 x 10cm) Makassar ebony 402500 WOOD BOWLS 403500 WOOD BOWLS Wayne Petrie Untitled, 20055 22h x D5'w x Wid (6x 64 x 20 em) ‘Laminated and coopered jarrah, cocobolo base Photo by David Sandison Tepwan, aau AB TOP KMM npasomVic Wood Wave, 1987 27h x 2¥w x6'd (68 x 58x 15cm) Turned myrtle beech Photo by Tony Boyd 500 WOOD BOWLS 405,500 WOOD BOWLS 406 Maple; 21k gold Photo by Steve: Sul Collection of Da af pen and ink500 WOCD BOWLS Brad Sells jed, 1990 Sh x Iw x 30x 30 em) Sassafras Photo by John Lucas 408500 WOOD BOWLS Brod Sells Untitled, 1994 Lh x I7"w x 18d (85 x 43 x 46 em) Carved cl Photo by John Lucas AO?Gx 12x lcm) Photo by Kevin Wallace Friedrich Kuhn Untitled, 2001 12°h x L4"diam (30x 35m) ‘Turned and carved walnut, bleached Photo by the artist 500 WOOD BOWLS Ale500 WOOD BOWLS Ed Moulthrop Untitled, circa 1350, 21° x 20°diam (83 x 51 cm) Spalted silver maple Photo by M. Lee Fatherree Collection of Forrest L Merrill a2 Natepnan; 32 bi aBTOPCKMM Npasam500 WOOD BOWLS 46 About the Jurors Ray Leier and Jan Peters, co-founders of del Mano Gallery in Los Angeles, have been involved in the contemporary cralt mavernent since 1973. Kevin Wallace is a widely published writer and curator in, the field of contemporary craft art. Over the years. under the direction of their founders.del Mano Gallery has become a leading force in the contemporary wood art movement. The gallery has presented annua! exhibitions. and produced accompanying catalogues through work with major collectors and national museums Ray Leier is a founding member of the American Association of Woodtumers.and currently serves on the board of directors of the Wi g Centers Philadelphia. Jan Peters currently serves on the board af directors of the Collectors of Waad as well as on the boards of the National Basketry Organization and the Glass Alliance of Los Angeles. drum Jan Peters and Ray Leier.along with Kevin Wallace, began a series of books on contemporary crafts published by Handbooks Press. Their first book, Contemporary Turnext Wood New Perspectives in a Rich Trudttion, published in 1999, presented a major survey of the wood aut field rich in talent, beauty, and innovation. Baskets: Tradition and Beyord, featuring a varied and accomplished selection of work field of basketry. was published in 2000. Contemporary Glass: Color, Light & Form, a review of contemporary glass artists followed in 2001 he ‘At the Sth Annual Forum of the Collectors of Wood Art, held in 2001 Ray Leier and Jan Peters were awarded the ‘Litetime Achievement Award” recognition of their many years of significant leadership and their visionary role in the field af contemporary wood art Kevin Wallace has served as guest curator tor exhibitions at major museums such as the Las Angeles County Museum of Art, tbe Long Beach Museum of Art,and the Los Angeles Craft and Folk Art Museum. He i$ a regular contributor to a number of publications, including Cra Arts internationat, Woodturning, Woodwork. and American Stvie. wing Points, Acknowledgments Thanks tot Kevin Wallace—who were instrumental in the juror—Ray Leier, Jan Peters, am formation of this back. Que to their encourage- ment of many antists,this book showeases some al the best work in the world today: The highest praise goes out to Nathalie Merny of Lark Books, who cheerlully took care of enulless administrative details such as answering an onslaught of emails and calls during the submission process, preparing slides, and writing detailed captions. Thanks also to Delores Gosnell and Rosemary Kast of Lark Books, who assisted in the long process of entering dato and preparing slides for jurying. Lark interns, Rose McLamey and Ryan Sniatecki also assisted with research as needed ‘Thanks to the discretionary eye af Art Director Kristi Ptefter,this book allows the work to be seen in its best possible light—set off by clean, spare design. Her chosen azrangem juxtaposition of images brings synergy to this compilation of diverse work by many artists, and ‘Katherine Duncan Almone, Eititor ns Rs, 280 ines neve peeeerrieneelev nd Tah 500 WOOD BOWLS The wooden bowl rediscovered eet eel photographic collection fea- tie eel ocean ee ely eee reece c Ta Roemer age-old hand tools and mod- ete Ti tema itete nny Dereon esa entre nate tte ment | Po el Micha tenn Ue eee co Cre ee UTM ea Ciraa rete Oy ere Tear EDC eo Eg Penne ae ee SUM | ll