~19″ in diameter, the wood is Cherry. The design is my own but the concept was inspired by a David Nittmann piece which I believe is called “Sunset City”.
Just got back from the Virginia Woodturning Symposium this afternoon. Had a great time, attended some worthwhile presentations, picked up a couple of new toys from the vendors and, most importantly, finally met some great folks I have been chatting with online for some time now. A great dinner and several great beers were consumed.
I completed my most recent piece just in time to display it (along with “#11”) in the symposium’s instant gallery. It was flattering to see my pieces displayed alongside the work of several remarkable wood artists.
At 19″, it is the largest bead inlay illusion piece I have done to date. The wood is cherry and the design is one of my own.
Didn’t really have a name for this one so simply calling it “#11”. My wife calls it “Robots” but that didn’t work for me. There was a “#9” and a “#10” but I wasn’t especially enamored with either so I didn’t bother posting them here.
The wood is Jatoba (aka “Brazilian Cherry”), ~18″ in diameter, the largest piece I have made so far. The pattern is based on a pattern by Aleksandra Góra.
“Infinity”, walnut, acrylic ink, about 15″. Adapted from a bead weaving pattern by Monika Extrano. I have included a picture of the back to show the pewter inlay I have been adding to my last several pieces. I have also been playing around with different variations of the beaded band on the bottom concept. I’m not sure I have found the one that I love yet.
Walnut, acrylic ink, 15″ in diameter.
This is my homage to the collaborative platters created by polymer clay artist Cynthia Tinapple and her woodturner husband, Blair Davis. “Canes” is a polymer clay term for rolling multiple colors of clay together into rolls and then slicing them into multi-colored slices. I tried to somewhat replicate the “look” of this using the bead weaving illusion technique.
Walnut, acrylic ink, about 14.5″ in diameter
Couple of firsts with this piece for me. Instead of creating a grid pattern, as will all of my previous pieces, I used what bead weavers call a “two drop peyote” pattern where the “beads” shift 50% every two rows. This is very visible in the closeup. The use of “two drop peyote” and “three drop peyote” allows for more circular shapes compared to a straight grid pattern or an “even peyote” pattern, where the “beads” shift every row, like bricks.
The other first for me here was that I created this pattern by adapting an actual bead weaving pattern created by someone else rather than creating the pattern on my own. The pattern came from a free Italian bead weaver who sadly no longer appears to be active.