Enthusiasm and burnout alternately wax and wane with me, whether it's
woodturning, sailing, welding found junk or just messing about in my
shop. Presently, I'm in burnout phase for gouging cross grain, scraping
end grain and sanding either one. An article, "Raw Beauty", in Feb. '05
(no. 145) of "Woodturning" by R. Hooper about the work of Ernst Gamperl
rekindled the fire. Gamperl's work is evidently quite significant and
worth acquiring by savvy museums and collectors. It's expensive.

I was intrigued because the work pictured seemed possible for me to do
and not all are hollow or 'well finished'. This is not a disparagement.
I like the objects a lot and I realize that a picture isn't the real
thing and making the difficult appear simple is a part of true talent.
Hopefully, even this redneck is finally mature enough to not
need to show his ignorance, but just to quietly enjoy if not understand,
the ballet, opera, 'far out' paintings .......and woodturnings that
don't need to function.

I still have lots of hurricane NIP so I thought to try making something
similar to Gamperl's solid and raw spindles. During the effort, I
finally found my signature piece. I left the NIP branches sticking out
randomly from 2 to 3 in. instead of orienting them for stars or
medallions. This sure looked like fine art to my eye as it beheld the
masterpiece, so I was crushed when Lorraine said "what a nice holder
for rings, keys and earrings." A question considered long ago by Del
Stubbs came to mind immediately. What makes the work of highly acclaimed
turners so different from that of yours and mine?

Have I found my signature piece at long last, or has everyone who has
ever turned NIP tried letting the branches stick out? Nice key ring
holder, indeed! Maybe that's the best I can hope for, but hope does
spring eternal; besides I'm tired of hollowing.


Turn to Safety, Arch
Fortiter



http://community.webtv.net/almcc/MacsMusings