Solstice Series

The Solstice series emerged quite unexpectedly in my career. After fourteen years of moving in a rather tireless direction with my work in bowls and vessels, I suddenly jumped off the road of certainty and into what David Pye might have called a ‘racetrack of risk’. It began with a spherical form that I inadvertently cut in half while hollowing. I became so intrigued with the resulting broken elements that I felt there was no choice but to pursue the process further, wherever it might lead. This new path took me through pursuits of scale, material, surface texture, color, movement and gesture. In effect, the basic components of pure sculpture.

These objects represent an effort to connect with one of the universal motivations for making art – the conundrum between chaos and order - and to manifest these concepts into primary forms turned on a lathe. The resulting Spheres, Interspheres and Monospheres symbolize form-in-motion: stationary, but not static, where the surfaces become a canvas for expression through the integration of color, fire and the metamorphosed textures of the material itself. Within these forms I encountered spirit and pulse, the origins of force, yet equally vulnerable in being on the knife-edge of an aesthetic awakening, elements that engender the same qualities of mystery that I find within myself.

As inspiring as these forms were, there was no way I could support myself through sales. They were simply too radical for the era when I, and the rest of the turning world had been consumed for over a decade with burled woods. My more creative friends loved them and a few loyal collectors even acquired them. Ironically, some prominent people within the field admitted that they really ‘hated’ my new work, and the owner of my gallery in New York City asked me to take them out of the gallery as they were “scaring” her customers! It was wonderful. It was liberating. I knew I’d got them in the gut instead of the head. I had “made it.” It also caused me to re-evaluate the core elements of my work in hollow vessel forms as I moved on into the 1990s.