How does one get to del Mano?

Owen,

First, you can be relieved to know that the tone of your post shows no malice whatsoever for the success of others, and that you rejoice with Andi in her achievements.

There's a saying here that love is like that morning dew ? it's as likely to fall on a cow turd as it is a rose. The same can be said of fame, unless I have it confused with notoriety. In the case of Andi, the dew is jewels on a rose.

Del Mano has always been very good at seeking out emerging talent. Del Mano is also very good about showing the work of people whose work may not have wide market appeal but is advancing the scope of contemporary craft. Ray Leier always attends the AAW symposium. If your work is in the Instant Gallery and if it is excellent, Ray will see it.

My own observation is that those who have "popped" into recognition have done so after spending a lot of time and effort learning the craft, and then applying that knowledge to producing work that is their own. The best example I know of this is Ben Pho. Ben spent years filling his pockets with techniques and skill development, and then put it all together in glorious expressions of his Viet Namese culture and life experiences. Ben is doing some of the most powerful work of any contemporary craftsman around right now. Ben's gentle sweetness and enthusiasm for life glows in his work.

Anyone who can be as successful as Ben in revealing their spirit in their work will have del Mano and every other gallery in the country asking for their work.

Clay Foster

Hi Owen, Another good question.

In descending order:

ability -> originality -> diligence -> timing

->self confidence -> personality -> promotion -> the economy ->

fortune ->

And that without which there is nothing -> _something to say_

As always, just my opinion. Arch

Fortiter,

Thank you for replying Clay. For a few moments there I thought I heard the whistling theme for "The Good, the Bad and the Ugly."

I must confess that I've received a number of private emails to my posting - none from Andi, but I understand she's out of the country for a short while. Withoug divulging identities, I was filled in on a little of the behind the scenes timelines. Andi's work has been under consideration by del Mano for about 1 and three-quarters years and it was primarily through her exposure in the Instant Galleries.

I was a bit concerned with using the word "pop" as I doubted it was that sudden - but by all appearances it certainly seemed that way.

What this says to me is that active involvement in AAW and the annual symposium can gain the notice of those who are able to further your work

- whether they be as mentors or as a conduit for public exposure and income.

I believe this illustrates the advice to put yourself and what you know and value into your creations. The greatest satisfaction comes from others accepting the essence of oneself contained in the work, not from merely providing the style du jour that sells.

_____ American Association of Woodturners Cascade Woodturners Assoc., Portland, Oregon Northwest Woodturners, Tigard, Oregon _____

Hi Arch. Do I see a contradiction in the order of your list with respect to the thread on "Art is thoughtful workmanship"?

I thought your view was that it isn't "necessary for an object to be beautiful or even well crafted in order to be art." Do not ability and well-crafted speak to skills? Should"something to say" remain last or perhaps should it be moved to first when speaking of galleries such as del Mano?

Otherwise I think I agree on your selections and order.

_____ American Association of Woodturners Cascade Woodturners Assoc., Portland, Oregon Northwest Woodturners, Tigard, Oregon _____

Practice, Practice, Practice.

Owen, A good posting, and I hope it generates some interesting discussions.

Martin

Owen - I just this afternoon returned from my five week long field season in Africa, which is why I haven't previously responded to your post. The title caught my eye, and then I was surprised to see myself used as an example for your query.

You expressed an interest in knowing how I was invited to exhibit with del Mano. As Clay mentioned, Ray Leier and Jan Peters attend the big symposia with the intention of seeing what trends are developing in contemporary woodturning. What better place to scout for new talent than the AAW symposium? At the 2002 symposium I displayed, for the first time, my botanical motif designs, and these pieces were of interest to Ray and Jan. I was invited to participate in the 2003 "Small Treasures" show with del Mano, which is where they usually introduce new artists. In addition to this show, my work was shown with del Mano at the Collectors of Wood Art Forum (Santa Fe) and SOFA Chicago during September and October, and my work will be featured in the "Selected Works" show in January and then again for "Small Treasures" in March. The exposure of my work in Santa Fe has led to an invitation by the Douglas-Baker gallery in Minneapolis to do a solo exhibit in April, 2004.

I have to confess that all of this "sudden" attention seems very much like a Cinderella story to me, and I'm wondering when the coach is going to turn back into a pumpkin. However, the attention my work has received has actually been gradual, although on a somewhat shorter timeline than one often sees. I guess the correct analogy is that I've been "discovered," and I'm very grateful for the opportunities that have subsequently arisen over the past couple of years. I never set out a goal for myself to make it into the gallery market - my work was done solely for my own pleasure and a desire to combine my interest/passion in botany and woodturning.

Owen wrote: "In the AAW American Woodturner journal article entitled, "Woodworking in 2010", Andi is quoted a number of times and is in the company of the familiar names of Ellsworth, Conover, Christensen, Lacer, and others. I don't recall any kind of ramp up of exposure that would gain the familiarity of name recognition that the journal seems to be comfortable with. My knowledge of Andi was, as I mentioned, through RCW and WOW - yet the journal's tone seems to be that of familiarity.

"Andi, are you out there and willing to discuss your journey? Did you actively seek out del Mano's attention or was it a serendipitous moment of Hollywood soda fountain discovery? How does one embark on a path of exhibiting work in art galleries and collections vs. gift shops and sales galleries? (Is one exclusive of the other?) I was struck by the thought that the journal may be a vehicle to expose one's work to the gallery scene - with quotes from Jan Peters, of del Mano, in the article mentioned above, I'm wondering if she and others peruse the journal for talented and innovative new turners."

Well, this has been a good year for media exposure, I guess. First there was an article in the UK journal, "Woodturning" about del Mano's "Small Treasures" show where I was featured as one of the "newer blood" in contemporary woodturning (including a photo of one of my bowls). The AAW journal showed photos of my collaborative pieces for the EEOG auction, and this month the UK journal and American Woodturner gave me some press. The AAW symposium proceedings and a cameo appearance on one of the DIY's woodturning show episodes cap it off for the year.

None of these opportunities were initiated by me except for the EEOG auction advert - I sent those photos to the AAW journal to help drum up support for the event. The most recent article in the American Woodturner was initiated by Carl Voss after the Pasadena symposium. Carl sent a questionnaire to a wide range of established and emerging artists and then combined our responses into the article.

So, in terms of what efforts I've made to bring my work to attention, I'd have to say I've just done what I like to do - turn pieces of wood into lovely shapes and then play with surface enhancement ideas. I'm a full-time botanist and a part-time woodturner. I play with wood to relax and to feed my soul, and I'm glad others enjoy the end product as much as I do.

If I were a full-time woodturner who wanted to make a living from my craft/art, I would probably be spending a lot of effort in advertising my work, finding appropriate shows and galleries in which to display. As it currently stands, I want to enjoy my passion for woodturning and I want to make what pleases me, and what I would like to have in my own collection of woodturnings.

Clay Foster wrote: "There's a saying here that love is like that morning dew ? it's as likely to fall on a cow turd as it is a rose. The same can be said of fame, unless I have it confused with notoriety. In the case of Andi, the dew is jewels on a rose."

Thanks, Clay!

I should probably not post this until I've had a chance to sleep off my jet lag, but I'm going to hit the send button anyway, so please excuse the rambling length of this post.

Cheers - Andi Wolfe

Hi Andi. I remember that fall leaf motif platter from the 2002 symposium....and Ellsworth's critique (compliments) of it. Absolutly gorgous piece. Your work is refreshing and new (IMO). As imitation is the sincerist form of flattery, I will be exploring your techniques on my own humble forms for my own pleasure. I wish you continued success!

Peter Teubel Milford, MA

Andi,

Your work is awesome. No more, no less.

Rich

it is a VERY good idea, even in Outlook Express, to your replies...you quoted 107 lines in order to add 3... thanks...

Yeah I know but I kept my reply 104 lines shorter than I wanted to. heheh.

Rich