Wood, as a medium for expression, competes with the voice of the artist for the attention and recognition of the audience. The wood itself: grain, colour, texture, and weight, strives to subjugate the artist’s will to force form, decoration, and function–or lack of it–upon and into the artifact. I enjoy this friendly confrontation with my material. I resolve the dichotomy by design: cajoling and manipulating the wood to exhibit its inner conflicts while expressing my thoughts.

I readily accept the freedom and constraints of woodturning. The process, from selection of material through design and execution to finishing and critique, is one of constant dialectic: a dialogue of conflict, resolution, and synthesis. Turning is a process wherein contrasts arise, to resolve or inspire wonder. Turning imposes roundness, yet out-of-roundness–and incomplete roundness–is not only possible, but at times, desirable.

Turning is fast. It requires intuitive action that flows from a depth of thought, purpose, and analysis, combining the skills of artisanship and artistry.

To take the apparently simple–reveal complexity and resolve simplicity–while creating objects that thrill, elate, surprise and fulfill those who encounter them, are my goals and reward.