Enthusiasm and burnout alternately wax and wane with me, whether it's woodturning, sailing, welding found junk or just messing about in my shop. Presently, I'm in burnout phase for gouging cross grain, scraping end grain and sanding either one. An article, "Raw Beauty", in Feb. '05 (no. 145) of "Woodturning" by R. Hooper about the work of Ernst Gamperl rekindled the fire. Gamperl's work is evidently quite significant and worth acquiring by savvy museums and collectors. It's expensive.
I was intrigued because the work pictured seemed possible for me to do and not all are hollow or 'well finished'. This is not a disparagement. I like the objects a lot and I realize that a picture isn't the real thing and making the difficult appear simple is a part of true talent. Hopefully, even this redneck is finally mature enough to not need to show his ignorance, but just to quietly enjoy if not understand, the ballet, opera, 'far out' paintings .......and woodturnings that don't need to function.
I still have lots of hurricane NIP so I thought to try making something similar to Gamperl's solid and raw spindles. During the effort, I finally found my signature piece. I left the NIP branches sticking out randomly from 2 to 3 in. instead of orienting them for stars or medallions. This sure looked like fine art to my eye as it beheld the masterpiece, so I was crushed when Lorraine said "what a nice holder for rings, keys and earrings." A question considered long ago by Del Stubbs came to mind immediately. What makes the work of highly acclaimed turners so different from that of yours and mine?
Have I found my signature piece at long last, or has everyone who has ever turned NIP tried letting the branches stick out? Nice key ring holder, indeed! Maybe that's the best I can hope for, but hope does spring eternal; besides I'm tired of hollowing.
Turn to Safety, Arch Fortiter