"Inspiration for the Soul"

(Refer to Fall 2006 AW Journal, page 18 -19)
Note that there are two photos from each artists - the first is their inspiration and the 2nd is their work.

Click on any photo to see a larger view, with the artists' comments

Virginia Dotson\nInfluence: Canyon de Chelly\nWork: "Banded Vessel"The active linear patterns in rock, which are the traces of ancient winds, offer limitless possibilities for laminated turned vessels. Virginia Dotson\nInfluence: Canyon de Chelly\nWork: "Banded Vessel"The active linear patterns in rock, which are the traces of ancient winds, offer limitless possibilities for laminated turned vessels. David Ellsworth\nInspiration: Smoke holes in Native American bread ovens\nWork: "Homage" series\nThe inspiration for the recessed hole in my "Homage" series came from the smoke holes in Native American bread ovens. The natural texture of these surfaces in Southwestern architecture also has had a strong influence on many of the surface textures of my pots. David Ellsworth\nInspiration: Smoke holes in Native American bread ovens\nWork: "Homage" series\nThe inspiration for the recessed hole in my "Homage" series came from the smoke holes in Native American bread ovens. The natural texture of these surfaces in Southwestern architecture also has had a strong influence on many of the surface textures of my pots. Paul Fennell\nInfluence: Waves\nWork: "de la mer"\nThis piece is one of what I call the "de la mer" body of work, based on images of ocean waves and reflected random patterns of light; they were likely integrated into my childhood imagination from living on the East Coast, whereupon the Atlantic Ocean was virtually the front yard of my home. Living near the ocean in California for a number of years was also inspiration for this piece, the concept of rolling waves onto a beach, one after another. Paul Fennell\nInfluence: Waves\nWork: "de la mer"\nThis piece is one of what I call the "de la mer" body of work, based on images of ocean waves and reflected random patterns of light; they were likely integrated into my childhood imagination from living on the East Coast, whereupon the Atlantic Ocean was virtually the front yard of my home. Living near the ocean in California for a number of years was also inspiration for this piece, the concept of rolling waves onto a beach, one after another. Stephen Hogbin\nInfluence: Caruthers and Thurston, Optical Illusions and the Visual Arts (1964)\nWork: "Memories of Unthreaded Needles"\n"Memories of Unthreaded Needles" shows some subtle relationships of perception. The influence image is one of three guys who measure exactly the same height-they just look different to the converging lines. The perceptual psychologists, Caruthers and Thurston, present the idea illustrating the principle of perception. How appearance and reality works has interested me for decades. You will notice the two needles look like they are different sizes. They measure exactly the same size, give or take the thickness of a coat of paint. Circumstance or the site-specific nature of the background is what influences the size of the needle. It is intentionally subtle piece in contrast to the influence. The title, "Memories of Unthreaded Needles" comes obliquely from a relationship unstitches while try to get some perspective. Stephen Hogbin\nInfluence: Caruthers and Thurston, Optical Illusions and the Visual Arts (1964)\nWork: "Memories of Unthreaded Needles"\n"Memories of Unthreaded Needles" shows some subtle relationships of perception. The influence image is one of three guys who measure exactly the same height-they just look different to the converging lines. The perceptual psychologists, Caruthers and Thurston, present the idea illustrating the principle of perception. How appearance and reality works has interested me for decades. You will notice the two needles look like they are different sizes. They measure exactly the same size, give or take the thickness of a coat of paint. Circumstance or the site-specific nature of the background is what influences the size of the needle. It is intentionally subtle piece in contrast to the influence. The title, "Memories of Unthreaded Needles" comes obliquely from a relationship unstitches while try to get some perspective. Michael Hosaluk\nThis piece is titled "Woman in a Blue Dress," and is about the celebration of dance and culture. Michael Hosaluk\nThis piece is titled "Woman in a Blue Dress," and is about the celebration of dance and culture. William Hunter\nWork: "Converging Helix" was inspired by releasing the helical elements similar to the ones I had carved into the surface of "Coriolis Currents" 10 years earlier. The transformation erases the boundaries of the vessel's interior and exterior, seems to defy gravity, functions as abstract energy with no vantage point or singular view, and seems to bend space. William Hunter\nWork: "Converging Helix" was inspired by releasing the helical elements similar to the ones I had carved into the surface of "Coriolis Currents" 10 years earlier. The transformation erases the boundaries of the vessel's interior and exterior, seems to defy gravity, functions as abstract energy with no vantage point or singular view, and seems to bend space. John Jordan\nAlthough it's difficult to speak well about this in a couple of sentences, architecture-both modern and ancient-have a strong influence on my work. John Jordan\nAlthough it's difficult to speak well about this in a couple of sentences, architecture-both modern and ancient-have a strong influence on my work. Alan Lacer\nInfluence: onion dome on church in East Germany Alan Lacer\nInfluence: onion dome on church in East Germany\nWork: "Russian Spaghetti Box"\nLooking to ideas from areas outside of turning, I delight in the endless variations of onion domes. My application has been to do quite a number of tall (about 11-14 inches in height) lidded boxes with the onion dome theme. And yes, they do hold spaghetti. Stoney Lamar\nThe Cycladic figurines have had a long-standing influence over my work from a cultural perspective and in the development of the figurative work that I do. My initial response to them was at a subconscious level and I have since come to the belief that they represent a core element of my cultural DNA, one that exists at the nexus of Western aesthetic. From a form perspective, it is my hope to emulate the simple elegance that these objects represent. Stoney Lamar\nThe Cycladic figurines have had a long-standing influence over my work from a cultural perspective and in the development of the figurative work that I do. My initial response to them was at a subconscious level and I have since come to the belief that they represent a core element of my cultural DNA, one that exists at the nexus of Western aesthetic. From a form perspective, it is my hope to emulate the simple elegance that these objects represent. Bud Latven\nInfluence: Anasazi architecture\nWork: "Red Tower"\nThis early form in my "Tower" series was influenced by the Anasazi architecture at the Hovenweep ruins in southwestern Colorado. Mary Colter (1867-1958) designed and built the Watchtower that sits on the southeastern rim of the Grand Canyon and was based on the same prehistoric architecture. Bud Latven\nInfluence: Anasazi architecture\nWork: "Red Tower"\nThis early form in my "Tower" series was influenced by the Anasazi architecture at the Hovenweep ruins in southwestern Colorado. Mary Colter (1867-1958) designed and built the Watchtower that sits on the southeastern rim of the Grand Canyon and was based on the same prehistoric architecture. Ron Layport\nInfluence: Black on White effigy (1150-1250)\nWork "Masque of the Salmon King"\nAnimal effigy figures have inspired utilitarian vessels and ceremonial objects since the earliest forms of human expression. Working at the lathe brings form and focus to my work, while influences that bear evidence of a maker's hand or process, free me to explore texture, coloration, and tactile qualities, and expand the parameters of my vessel forms. Ron Layport\nInfluence: Black on White effigy (1150-1250)\nWork "Masque of the Salmon King"\nAnimal effigy figures have inspired utilitarian vessels and ceremonial objects since the earliest forms of human expression. Working at the lathe brings form and focus to my work, while influences that bear evidence of a maker's hand or process, free me to explore texture, coloration, and tactile qualities, and expand the parameters of my vessel forms. Steve Loar\nInfluence: National Geographic cover\nWork: "Composition in Black, White, and Red: The Indiscretion"\nIn 1993, Stoney Lamar allowed me to take an unresolved draft of one of his "Temple Series" from his burn pile, and I set out to prove that I wasn't addicted to color. Steve Loar\nInfluence: National Geographic cover\nWork: "Composition in Black, White, and Red: The Indiscretion"\nIn 1993, Stoney Lamar allowed me to take an unresolved draft of one of his "Temple Series" from his burn pile, and I set out to prove that I wasn't addicted to color. Bruce Mitchell\nInfluence: "Black Sun," Tamba granite, Isamu Noguchi (1960-63)\nWork: "Muse," bay laurel, (1999)\nThe negative space in Noguchi's piece is a powerful aspect that evokes the image of a portal, a threshold that leads to contemplative spaces beyond the surface of the work itself. My intent with the "Muse" piece was to use that same aspect to encourage the observer's discovery of other landscapes of insight and perception. Bruce Mitchell\nInfluence: "Black Sun," Tamba granite, Isamu Noguchi (1960-63)\nWork: "Muse," bay laurel, (1999)\nThe negative space in Noguchi's piece is a powerful aspect that evokes the image of a portal, a threshold that leads to contemplative spaces beyond the surface of the work itself. My intent with the "Muse" piece was to use that same aspect to encourage the observer's discovery of other landscapes of insight and perception. Michael Mode\nIn 1973 before I even touched a lathe, I fell in love with Islamic architecture. Years, later, this love became a strong inspiration, still active today in my artwork. Michael Mode\nIn 1973 before I even touched a lathe, I fell in love with Islamic architecture. Years, later, this love became a strong inspiration, still active today in my artwork. Philip Moulthrop\nInfluence: "Mixed Mosaic\nWork: "Bundled Mosaic" \n"Mixed Mosaic" was my endeavor to show wood with different techniques but without losing the theme that it was made with wood pieces. "Bundled Mosaic" is a later generation of my mosaic bowl in which I desired to carry the theme further and present both the end grain patter seen in the "Mixed Mosaic," and also the side grain of the different woods. Philip Moulthrop\nInfluence: "Mixed Mosaic\nWork: "Bundled Mosaic" \n"Mixed Mosaic" was my endeavor to show wood with different techniques but without losing the theme that it was made with wood pieces. "Bundled Mosaic" is a later generation of my mosaic bowl in which I desired to carry the theme further and present both the end grain patter seen in the "Mixed Mosaic," and also the side grain of the different woods. Binh Pho\nInspiration: Japanese interior\nWork: "Happy Together"\nThe inspiration was from a photograph of a cozy Japanese interior design. The image gave me a feeling of quiet and happy. I created this piece titled\n"Happy Together," mimicking the architectural design to house the vessel within. Binh Pho\nBinh Pho\nInspiration: Japanese interior\nWork: "Happy Together"\nThe inspiration was from a photograph of a cozy Japanese interior design. The image gave me a feeling of quiet and happy. I created this piece titled\n"Happy Together," mimicking the architectural design to house the vessel within. Merryll Saylan\nInfluence: Bob Stocksdale bowl\nWork: Glass tray and dyed maple bowl\nStocksdale was the first turner I knew about. His elegant forms and beautifully turned bowls were a great inspiration when I was starting. Merryll Saylan\nInfluence: Bob Stocksdale bowl\nWork: Glass tray and dyed maple bowl\nStocksdale was the first turner I knew about. His elegant forms and beautifully turned bowls were a great inspiration when I was starting. Betty Scarpino Betty Scarpino\nI spent four weeks in Australia last year, and the contemporary Aboriginal art I saw made a profound impression on me. After returning home, I finished two pieces-ones that I had actually begun before my trip and set aside, not knowing how to complete. David Sengel\nOn my 21st birthday, I became a vegetarian. Five years later, after moving to a cabin on a river of fish, I had one of the catch that day for dinner. The dream that night was order a fish sandwich and receiving on that I looked like this pieces. Dream and experience can be a real source for ideas, though the strongest influence on most of my work these days is found object-whether manmade or from nature. David Sengel\nOn my 21st birthday, I became a vegetarian. Five years later, after moving to a cabin on a river of fish, I had one of the catch that day for dinner. The dream that night was order a fish sandwich and receiving on that I looked like this pieces. Dream and experience can be a real source for ideas, though the strongest influence on most of my work these days is found object-whether manmade or from nature. Mark Sfirri\nMy recent exploration into the vessel form was initiated by a desire to approach it from a different angle. The influence on the form was to look at the throwaway vessels of today, namely bottles and jars and cans. By developing the forms on several axes, my intention was to animate them. The graphic imagery used on the objects was a way for me to make humorous as well as social commentary. Mark Sfirri\nMy recent exploration into the vessel form was initiated by a desire to approach it from a different angle. The influence on the form was to look at the throwaway vessels of today, namely bottles and jars and cans. By developing the forms on several axes, my intention was to animate them. The graphic imagery used on the objects was a way for me to make humorous as well as social commentary. Jacques Vesery\nInfluence: leaf spiral\nWork: "Under the Sky and Dreaming"\nAlthough the nature inspiration seems obvious, the vision is more so the way nature is repeated within the Golden Mean or divine proportions. Inspiration comes from pattern and form more than the actual leaf itself. Jacques Vesery\nInfluence: leaf spiral\nWork: "Under the Sky and Dreaming"\nAlthough the nature inspiration seems obvious, the vision is more so the way nature is repeated within the Golden Mean or divine proportions. Inspiration comes from pattern and form more than the actual leaf itself.