Full Regalia, 2006, holly, epoxy, cherry, purpleheart, paint; 9 ¾" high × 9 ½" long × 3" wide. Campbell says, “Full Regalia, being very formal and somewhat austere, echoes the pomp and pageantry of a royal parade.”
Come Here Often? 2007, holly, epoxy, paint, curly maple, purpleheart, dye; 9" high × 7 ¾" long × 2 ½" wide. Campbell says, “Come Here Often? brings to mind a slightly inebriated gent in formal attire trying that age-old line.”
Celebration, 2006, holly, epoxy, cherry, purpleheart, paint; 8 ½" high × 8 ½" long × 2 ¾" wide. “In keeping with my theme of high-society decadence, I wanted to give this piece a mood of music and motion,” Campbell says. “A celebration of life’s good times.”
Persuasion, 2006, holly, epoxy, cherry, purpleheart, epoxy, fiberglass, paint; 7 ⅝" high × 8" long × 2 ½" wide.
VIRGINIA DOTSON
Woodturning gives Virginia Dotson the opportunity to explore stack-laminating techniques, while its limited scale allows her to develop a concept by working quickly through ideas. She likes to imitate the natural layering of wood grain in her laminated plywood projects. The layers remind her of the sedimentary rock landscapes in the deserts she often visits.
I find interesting interactions between the wood figure and the patterns I have created by layering different woods together. My laminated wood vessels are an expression of the landscape.
Artist Profile
b. 1943 Newton, Massachusetts
Raised in a family of musicians, Virginia studied art at Arizona State University, where she encountered woodturning as an art form; she took early inspiration from Wendell Castle, Bob Stocksdale, and Rudy Osolnik; began her woodworking career as furniture maker before turning to fine art.
Studio location: Scottsdale, Arizona
Sunlight Series #22, 2004. Curly birch and ebonized walnut, 9 ¼" high × 7 ¼" diameter. Dotson says the layers of wood echo “layered forms I have observed in nature, like the sedimentary rock landscapes common in the Southwestern United States where I live. Their history is recorded among the layers.”
Spiral Vessels, 2001. Italian poplar plywood, graphite; 9" high × 10 ¾" wide × 15 ½" deep. Just as a calligraphic brush stroke can contain an entire concept through gesture, Dotson uses form to capture experience and movement.
After Image, 2003. Baltic birch plywood; 7 ¾" high × 10 ¾" wide × 13 ½" deep. Says Dotson, “Animation and beauty may be found in the coexistence of opposites: positive and negative, light and dark, form and space.”
Crosswinds, 1990. Wenge, maple; 6 ¼" high × 16 ¼" diameter; permanent collection, Los Angeles County Museum of Art.
HARVEY FEIN
An inventor and machinist by training and temperament, Harvey Fein starts with an idea for a project then moves on to drafting the shape of it on paper and determining the best jig setup to accomplish it. For his complex designs to succeed, the wood must be bone-dry and tight-grained, which is why he tends to work with kiln-dried tropical hardwoods. He has also modified his Stubby 1000 lathe with a variety of jigs, auxiliary tools, and extensions to make exquisite final pieces.
The feel, the smell, the dust, the chips, the oil, the wax, sanding, shaping—everything about wood appeals to me.
Artist Profile
Harvey got into woodturning in the late 1990s after being gifted a home-turned bowl by a friend; inspired by David Ellsworth and Leon Lacoursiere, he has pursued his hobby alongside his career as co-owner of a window shade business based in New York City.
Studio location: Northwestern New Jersey
Untitled, 2007. Olive; 1 ½" high × 15 ½" wide × 15 ½" deep. “When I opened up this piece of olive, the linearity of the grain, along with the dark edge, suggested squares. I have done large squares and this was an extension of the idea. Gradation and irregularity.”
Untitled Platter, 2006. Jarrah burl, maple burl; 1 ¾" deep × 18" diameter. “I love the combination of spirals and wild burls,” Fein says. “The movement of the spirals and the wildness of the burl create a perfect foil for each other. In this case, the lightness of the maple burl optically enhances the effect of the spiral.”
Untitled Platter, 2007. Bubinga, coolabah burl; 2 ½" deep × 19" diameter. “This piece was drawn out to feature a round piece of coolabah burl I had. The thickness and uniformity of the blank was a great foil for the burl.”
4 Points, 2006. Claro walnut, 1 ¾" high × 17 ½" wide × 17 ½" deep. “Four Points started out as an experiment in vanishing points. Each set of six lines has a common point some 28 inches off the center, with the piece rotated to produce the pattern and four vanishing points. The diagonal line of light wood in the claro walnut is perfectly sited.”
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