Bold and deeply textured
this 305mm sycamore platter has a very striking rim. Sycamore tends to be quite bland and so lends itself to all forms of decoration which, on a strongly-figured wood like burr oak, may be a step too far!
Acacia has strong colour and figuring, shown to advantage in this natural-edged bowl or vase. 185mm tall.
A Classically-shaped hollow form in Blue Cedar, turned across the axis of growth and coloured with the shades of a Dartmoor summer.
Platter with coloured & textured rim
The rim of this 295mm Ash platter has the colours of the sea - or maybe a mackerel? - extending underneath.
The underside of this ash bowl is continuously curved, so that as things are put in it, it will rock and settle to a different angle. The offset rim is inlaid with yew 'oysters' so that it naturally presents itself at a tilt.
A selection of trinket and jewellery boxes suitable for a desk or dressing table, or just to enjoy handling!
Made from local Ash, this 250mm fruit bowl has been brightly stained inside, and the grain emphasised with coloured wax.
Platter with marbled rim
One of a series of wide-rimmed, 250mm platters in Sycamore, decorated with coloured dyes. This has been a useful learning exercise in the use of colour, discovering combinations which will work to enhance the plain-ness of the Sycamore.
Selection of Platters with marbled rims
With softer colours, these may suggest the bottom of a rock-pool, a river-bed, autumn tints or even nasturtiums... The two outer rims shown here use the same colour combination, but the finished effects are never exactly predictable!
You just have to pick up a finished piece and touch it!
It was a fascination with the textures of surfaces that first drew me to woodworking. After a while, seeking to improve my understanding of why some shapes are more pleasing than others, a course in pottery was taken: using your fingers to form a clay vessel on the wheel is so different to working with wood, but I now see turning as a much more fluid movement, drawing the shape from out of the wood. This is helping me to move towards more sympathetic projects.
Taking part in various open-studio events and competitions has encouraged the development of new turning skills such as hollow vessels and pierced work, and exhibiting with local painters has prompted the use of colours to subtly enhance some pieces. Applied colour and texture is now becoming a more dominant feature although much work still retains some characteristic of the growing, living tree: maybe a piece of the bark, a knot or some other deformity. Part of the challenge is to take an unpreposessing piece of wood, to realise the possibilities that it holds and then to reveal its beauty. And that's the pleasure, too!
Commissions include half-moon hall tables, low occasional tables, kitchen spice-stores with drawers, display shelving, various footstools, a church lectern, bookcase, and a Native American dough-kneading bowl. New works in progress are exploring the world of hanging wall sculptures.