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Profile: Will Simpson
By day, Will Simpson of Moscow, ID is a technical analyst at a
regional
medical center. But in real life, he is a serious woodturner and
webmaster
of a new virtual gallery on the Internet - www.kestrelcreek.com.
Besides
showcasing wood art, he hopes the web site will become a center for
information, discussions, and critiques among wood artists and their
collectors. Here is Will's story, in his own words:
When people ask me how I got started woodturning, I tell them that my
boss
drove me to it. This is only partially true. Woodturning has
been great
in relieving workplace stress. It is one of only a few woodworking
styles
where you can start and finish a piece, all with one machine (plus a few
gouges), in a short time. But I'm also drawn to it for the creative
outlet
aspects. You can shape a block of wood any which way.
More importantly, the sense of tactile feedback that one gets while
holding
the gouge against the spinning wood is spiritual-ribbons of wood flying
over the shoulder; the shape being created under the knife with my
spirit
and hand controlling the process; and removing wood to reveal what lies
beneath. This connection with the wood and the design are
mesmerizing.
Time stops for me when I'm turning. The wood draws me in, spinning
and
spinning like clay on a potter's wheel wanting to be molded into a
vessel.
This is a very Zen-like experience.
I started out learning to turn on a old ShopSmith making small craft
items.
I took these pieces to regional craft shows and did quite well.
Maybe
almost too well-as I was spending all my free time producing these small
craft items. After a short time, it became artistically
unfulfilling.
However during this period, I was able to upgrade my lathe and outfit my
shop with all the tools of my dreams.
At first, I thought that I could learn on my own, but soon realized that
working with others would be the only way to excel. In 1996, I had
a
chance meeting with Jim Christiansen, and together, we started an
informal
woodturners guild. This was a serendipitous event, as both of us
were
looking to grow artistically using the lathe as our medium. Though
the
numbers associated with the guild grew to more than 10 members at one
point, the guild has shrunk now to three dedicated studio wood turners:
myself, Jim, and Jim's protégée Ben Carpenter. We meet virtually
every
Tuesday in Jim's shop to turn, carve, and critique each others work.
Open segmented work is something that I started doing only a year ago,
having been inspired by Northern California turner Yosh Sugiyama.
I love
the juxtaposition of space and solid; of circles, curves, spirals; and
of
rectangles and squares all in one piece. I reinterpret simple
classical
forms using the open segmented process.
For example, the Ebony and Bocote open segmented piece featured to the
right, was inspired by the work of the noted ceramic artist Elsa Rady
from
Venice, CA. Some of her elegant forms remind me of people.
There is
something quite powerful about the groupings she creates. Some of
her work
involves 3-5 various sized forms grouped together in such a way as they
could be interpreted as representing a human family. Woodturner David
Ellsworth explored a similar theme in his Man and Forest Architecture
Series.
On my web site (www.kestrelcreek.com/segmented.htm),
I show a picture of
Rady's work and all my construction notes and drawings for this piece. I
do
admit that I turned the curve at the top slightly back upwards to allow
for
better access by my hollowing tool. This work took 47 hours to
create,
with most of that time devoted to gluing up the 585 pieces. This
line of
work has been well received, including the purchase of a similar piece,
displayed at the 2000 Utah Woodturning Symposium, by collector Alfred
Selnick.
Our woodturners guild believes that "the artist in wood has a
special
responsibility to discover wood's sacred potential and to enhance it by
applying the principles of good craftsmanship and design to produce an
object of great artistic value. When the synergy of material and design
are
fully realized, the object made of wood has great powers; it can soothe,
elicit deep feelings, and beautify its surroundings."
To this end, we have created a web site- www.kestrel-creek.com
-to bridge the
gap between the typical woodworkers "home page" and the
"bricks and mortar"
art galleries. We are trying to create a special gathering place for all
who love wood, along with facilitating dialogue between artists, the
public
who view our work, and the patrons who support our work.
Currently, we are
showing members' work, but plan a schedule of juried exhibitions with
pieces solicited worldwide. We also provide technical information
for
turners, including discussions on fluting jigs, outriggers, lathe
benches,
and grinding wheels.
However most related to our educational objective is what we call the
"Critique Central Project." In this forum, we present actual
turned works
for critical review. Visitors can post comments, which can be
reviewed by
others. The potential for artists to receive such feedback may be
among
the most valuable benefits that the Internet could provide.
On the lighter side, we have had visitors arrive at our homes looking
for
the Kestrel Creek Gallery.
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