Art Liestman

My academic background is in theoretical computing science and mathematics.  I hold a Ph.D. in computing science and am a Professor in the School of Computing Science at Simon Fraser University.  My background in the arts is primarily in music as both player and avid listener. 

About 20 years ago, I began making experimental musical instruments and developed some woodworking skills toward that end.   I am largely self-taught, but did learn a lot as a member of a local woodworking club. About 5 years ago, I realized that some of the instruments required turned parts.  With the encouragement of my brother John who makes Northumbrian smallpipes (a type of bagpipe from northern England), I took up woodturning.  As turning is such an addictive activity, it quickly took precedence over other woodworking. 

Initially, I incorporated turned parts into instruments, but I quickly began to make other turned objects such as bowls and hollow vessels.  I sold my woodturnings in local craft sales and in local galleries.  As my skills have improved, I have been trying to find my own voice, to produce work that is distinctly mine.  Starting with my series of puzzling illusion vessels, I am now selling pieces through galleries in the U.S.

During the past few years, I have taken courses from several prominent woodturners including 5-day courses from Kip Christensen and Stuart Batty at Craft Supplies in Utah and shorter courses from Jason Marlow, Bonnie Klein, Clay Foster, and Don Derry through our local AAW chapter.  Each of these instructors has influenced my turning, by helping me improve my technique and also by providing insight into their own artistic approaches.  They are all open and willing to share their knowledge and to encourage their students.   I have also learned a great deal and gotten much inspiration from attending demonstrations by numerous woodturners at AAW chapter meetings and at the AAW Symposia in Tacoma, Charlotte, and St. Paul. 

My biggest breakthrough came when I was awarded an AAW Educational Opportunity Grant to study one-on-one with Jacques Vesery at his studio in Maine.  During an intense two days, Jacques showed me the details of how he does his work.  Our conversations ranged from technical points to thoughts about design and even marketing.  It was a wonderful experience and Jacques has continued to mentor me since then.

About four years ago, Frank Sudol visited a woodturning club here in British Columbia and did a two-day demonstration.   His presentation encouraged me to start thinking about finding my own direction.  In addition, his visit convinced me that local woodturners would benefit greatly by exposure to more of the world's top woodturners.  The desire to bring these individuals to our community as demonstrators and teachers was one of the prime motivations for forming our local AAW chapter, the Greater Vancouver Woodturners Guild.  Our club was formed and accepted as a chapter by the AAW in 1999.  We have grown rapidly since then and have hosted several demonstrators and teachers each year.

My lathe is a Stubby 750, which is a wonderful tool.  I enjoy using primarily local hardwoods and prefer to work with green wood.  I am particularly fond of cherry and big leaf maple, both of which are plentiful and readily available.  I use a small amount of non-local woods for accents such as the collars on hollow vessels.

As contemporary wood artists are pushing the boundaries of woodturning in many directions, it is a challenge to find one's own niche.  I feel that it is essential to look outside of the turned wood field for inspiration. I find it in both music and mathematics, both of which have long been a part of my life.  New ideas and directions can be found in the artistic developments in other crafts such as basket making.  More traditional art forms such as painting and sculpture are also rich sources for inspiration.  Even such mundane things as the texture of window glass can be inspiring.  There is much to explore, and little time to do it!