The real challenge for John K

[Roger Chandler]

Now that John has been juried, there will be pressure upon him to perform now. Someone, Leo-I think, mentioned that those who sell [galleries & such] tend to want production,

I think that along with that John's greatest pressure will be from within. There is an old statement that says "no more bullets in the gun" that speaks to people like gov't leaders who run out of options on things like the economy, and then they are not able to fix it.

Applied to pressure in wood turning, I guess it would be after one has done most all the turnings one had in mind, then you get what could be compared to "writers block" and find it hard to keep doing something new and innovative.

John, will have to feed his inspiration on a continual basis, unless he just wants to keep duplicating what he has already done before, which may be what some customers may want him to do. I think each and every piece of work a turner does has its own uniqueness to it, so that may serve a gallery well enough, just so they can keep the space on the rack filled.

All that speculation aside ;):D John may be in for the ride of his life! Enjoy it while you've got it John, and renew your inspiration wherever and whenever you can find it, because it will serve you well to keep it sharp!

We are really happy for you!

[John Keeton]

Roger, very perceptive!

I have already felt some of that - even with the accolades from creekers. I think my "youth" in this arena (feels good at my age to be able to use the word "youth" every now and then!) causes some of that. As I turn more, gain expertise and technique, my needs and artistic goals may change.

I hope to never let this become a monetary "need" - Leo is right in that regard. I still have more ideas floating around in my head than I can get turned. It has even occurred to me that I should sketch some of them out so I can dig back through them should I have a creative lull.

All of this has come quickly, and it has caused me to think quite a lot about it. I recognize that, for whatever reason, God blessed me with some ability to express myself artistically - I have know that for a long time, starting with art class in college many years ago.

But, there is much more to turning than that - the techniques, the tool control, learning all of the wood species, etc., and all of that is very new to me. Lots yet to learn, and I intend on enjoying all of it.

I am too "long in the tooth" to not realize that one must live every day to its fullest - it may be the last one God gives you!

Thanks, Roger! For the friendship and support - and the "pastoral advice!"

[Roger Chandler]

Roger, very perceptive!

I have already felt some of that - even with the accolades from creekers. I think my "youth" in this arena (feels good at my age to be able to use the word "youth" every now and then!) causes some of that. As I turn more, gain expertise and technique, my needs and artistic goals may change.

I hope to never let this become a monetary "need" - Leo is right in that regard. I still have more ideas floating around in my head than I can get turned. It has even occurred to me that I should sketch some of them out so I can dig back through them should I have a creative lull.

All of this has come quickly, and it has caused me to think quite a lot about it. I recognize that, for whatever reason, God blessed me with some ability to express myself artistically - I have know that for a long time, starting with art class in college many years ago.

But, there is much more to turning than that - the techniques, the tool control, learning all of the wood species, etc., and all of that is very new to me. Lots yet to learn, and I intend on enjoying all of it.

I am too "long in the tooth" to not realize that one must live every day to its fullest - it may be the last one God gives you!

Thanks, Roger! For the friendship and support - and the "pastoral advice!"

John,

It is a good thing that your are a good planner, and have good organizational skills, as they will serve you well in cataloging ideas, etc. I think that keeping a sketch book and a file of idea pictures and moments when you had an idea pop in your head would be a really good thing for you to do.

I just hope that you will guard yourself against getting stressed out because of the expectations of others. To some degree, it is unavoidable, but that being said, I hope you can always keep this turning thing something that brings you joy, not a lot of stress.

[David E Keller]

This is an interesting thread. I think I understand the drive to continue to do new things, but at the same time, most of the professional turners I know have a signature... That signature is essential the repetition of a given form or style. Drozda, Pho, and Ellsworth (just of the top of my head) all have very unique styles, but I'd suspect that most of us could tell their pieces apart on sight. Given the variation in the medium itself and the inherent difficulty in making two things look the same, I don't think John should feel any pressure to avoid repeating past successes. I think most artists find a form/medium/style that allows them to express what they wish... The style changes when the idea to be expressed changes. Just my thoughts...

[Roger Chandler]

This is an interesting thread. I think I understand the drive to continue to do new things, but at the same time, most of the professional turners I know have a signature... That signature is essential the repetition of a given form or style. Drozda, Pho, and Ellsworth (just of the top of my head) all have very unique styles, but I'd suspect that most of us could tell their pieces apart on sight. Given the variation in the medium itself and the inherent difficulty in making two things look the same, I don't think John should feel any pressure to avoid repeating past successes. I think most artists find a form/medium/style that allows them to express what they wish... The style changes when the idea to be expressed changes. Just my thoughts...


David,

I agree with a lot of what you said here..........my thinking is that I don't believe John is the kind of person that would be satisfied just to keep repeating the same "type" of turning where it was most of what he turned. I think he will need to keep his inspiration honed as well as his tools, because to me, he seems to be one who needs to reach for something that has purpose for pursuing......for him, I think repeatedly doing the same types would lead him to boredom with it.

The horizons for a creative woodturner are large indeed! I think Jeff Nichols statement is likely to pan out in time for John, as he will be one that becomes "sought out" by others to become a teacher and mentor, and most likely a demonstrator at meetings as well.

[charlie knighton]

well i hope John becomes a demostrater, imagine doing his turnings in
1 12 hour timespans. practice, practice, practice :D

[Sean Hughto]

Maybe it's just me, but I find that while I may have an idea in mind as I step up to the lathe to begin a turning, much more often than not, something about the individual piece of wood, some mistake, or some impulse in the creative moment alters my original intent (usually for the better!). For me, it's like getting in a drift boat on a river; I know I'm going to end up downstream, but the wind and currents in the moment might well take me to a spot I'd never have imagined. While more experience may well allow me to better "steer" myself to certain results, I really hope the surprise and serendipity never goes away. Interactions with fortune in the creative moment are rewarding to me.

That's a lot of words to say something simple; intent is part of the creative process, but only part. John has the talent to pursue the opportunities that arise in the creative moment. I doubt very much he will fall into a rut or run out of that.

[Roger Chandler]

Maybe it's just me, but I find that while I may have an idea in mind as I step up to the lathe to begin a turning, much more often than not, something about the individual piece of wood, some mistake, or some impulse in the creative moment alters my original intent (usually for the better!). For me, it's like getting in a drift boat on a river; I know I'm going to end up downstream, but the wind and currents in the moment might well take me to a spot I'd never have imagined. While more experience may well allow me to better "steer" myself to certain results, I really hope the surprise and serendipity never goes away. Interactions with fortune in the creative moment are rewarding to me.

That's a lot of words to say something simple; intent is part of the creative process, but only part. John has the talent to pursue the opportunities that arise in the creative moment. I doubt very much he will fall into a rut or run out of that.

Really interesting Sean.

Drifting down stream, letting the current take you where it will..........versus intent...........hummm, ......

I will say that sometimes the vagaries of the wood [ie. swirling grain direction, an unexpected punky area, windshake, etc] could all vary one's intent .....I have experienced that, and I think we all call that one a "design opportunity" :D

We have a very accomplished member of our local club who when this subject came up during a show & tell time, spoke of "forcing his will on the wood" :eek: but I have found that forcing the issue at times can get you into a little trouble [minor issues, like flying bowls :eek: exploding rims,etc]

Now to another comment you made that intriques me ......."impulse or creative moment alters my intent" .......... that I believe is part of what sets John apart from an average Joe like myself........he plans the whole thing from start to finish and the steps in the process at each stage of the project before he ever gets to the lathe.

Now that being said, I feel like it is most probable that when he is doing something such as a finial, that he might use the moment to refine or change something he feels could be better, but the overall planning I think is part of his edge, and then his creativity is the other part.

What do you think, Sean?

Weigh in here John, and help us mere mortals to understand your thinking on the intent. Vs, drifting and ending up approach to woodturning excellence. Lets also all remember this..... while John K. does do great turnings, his style he would say is not the only standard with which to judge our work, and he himself was inspired by a lot of others who's work is art in it's own right!

[Sean Hughto]

"Drifting" is perhaps the wrong word. While there is an element of "going with the flow," so to speak, what I really meant was more the necessity to be "in the moment" when one is creating anything. The creation doesn't stop when the "plan's" formulation is complete. The creative process (the execution of the plan) is a series of decisions and reactions to the results that are appearing before one's eyes in real time. Some of those results could not have been anticipated, and hence the artist who merely proceeds with a plan, might well miss opportunities for creating something even better than planned. You might have a great recipe for fried green tomatoes, but when you get to the store, the green tomatoes don't look so good; you could go ahead with the plan, or you could see that the avacados look spectacular, and decide to try your hand at some guacamole instead.

[Bernie Weishapl]

John I can only add one thing. Don't let this become a business and burdensome. I have had one hobby that it has happened to and it is not fun. When you get to the point that the demands for product get so intense it is not fun for me anymore. I quit the one hobby several yrs ago and when I got into woodturning I vowed and swore to myself that I would not let that happen and I would keep it fun. Keep on having fun John and yes let that youngster out once in a while.

[Roger Chandler]

"Drifting" is perhaps the wrong word. While their is an element of "going with the flow," so to speak, what I really meant was more the necessity to be "in the moment" when one is creating anything. The creation doesn't stop when the "plan's" formulation is complete. The creative process (the execution of the plan) is a series of decisions and reactions to the results that are appearing before one's eyes in real time. Some of those results could not have been anticipated, and hence the artist who merely proceeds with a plan, might well miss opportunities for creating something even better than planned. You might have a great recipe for fried green tomatoes, but when you get tot he store, the green tomatoes don't look so good; you could go ahead with the plan, or you could see that the avacados look spectacular, and decide to try your hand at some gaucomole instead.

Sean,

First of all, I love this kind of conversation, because I am a person who likes to know how things work.......the "intent" and the "process." Reaction to what is happening before your eyes is something that can be for the better or maybe at times for the worse.

For example, in planning for a work of art, using several different species of wood, one might gather all materials, and find that a particular piece of maple for example has a defect, that wasn't noticeable until it was turned away a bit. Then, the turner is faced with a decision, to either stick with the original plan, or salvage the defected wood by changing the design, somewhat.

That would mean a choice of stopping and getting a new piece that is not defective or continuing and having to refigure the next steps because of the unexpected defect. "Going with the flow" VS. staying with the plan......is that what separates a true artist from average Joe turner? For a true "artist" do they accept alterations to what was in the palate of their mind, or would that violate the picture for them that they are trying to paint?

I ask because I want to know what separates the "artist" from the others, and I know it starts in the mind of the artist, and is not all mechanical issues such as tool technique.

By the way, somebody throw me a rope or a ladder.....it's gettin' deep in here in this hole I have dug for myself :eek::D:D;)

[Sean Hughto]

The touchstone - the goal - is to make something "good." While some may argue that "good" is in the eye of the beholder, I think that overstates the case. Indeed individual viewers may have idiosyncratic or even what amount to perverse tastes and like things that no one else does, but that doesn't negate the fact that as a group, viewers recognize masterpieces, and can distinguish them from dreck. Plans and all the rest are just tools to get to a "good" piece of art or good bowl for that matter (to the extent some would not seek to claim a bowl as "art"). What separates a true artist, I suppose therefore, is that he or she owns an internal compass and the skill to navigate towards "good." One can teach someone to make quality craft (or even copies of existing art) by teaching them to follow the steps and execute the skills that arrive at the result. One cannot teach artistic skill that arrives at something original, because to get to the original work an artist has to follow his or her nose and express themselves - it's very personal and full of decisions and reactions along the way.

[Roger Chandler]

The touchstone - the goal - is to make something "good." While some may argue that "good" is in the eye of the beholder, I think that overstates the case. Indeed individual viewers may have idiosyncratic or even what amount to perverse tastes and like things that no one else does, but that doesn't negate the fact that as a group, viewers recognize masterpieces, and can distinguish them from dreck. Plans and all the rest are just tools to get to a "good" piece of art or good bowl for that matter (to the extent some would not seek to claim a bowl as "art"). What separates a true artist, I suppose therefore, is that he or she owns an internal compass and the skill to navigate towards "good." One can teach someone to make quality craft (or even copies of existing art) by teaching them to follow the steps and execute the skills that arrive at the result. One cannot teach artistic skill that arrives at something original, because to get to the original work an artist has to follow his or her nose and express themselves - it's very personal and full of decisions and reactions along the way.


Well said Sean! I'll leave it there for my part on our discussion, but it would really be nice to have the "artists" among us chime in to give us their perspective on the "intent" and the "process" and if changing as one goes would violate the picture and intent they had.

[John Keeton]

I will weigh in, only to provide some insight into my perspective on this topic. By no means to I claim any expertise beyond anyone else. I do recognize my talents - some related to my vocation, and some related to my advocations. It is my belief that all are gifted with talent, and it is our duty from God to discover those, utilize them for good, and to always strive to do our best.

When I first started turning, I made comments that I really had no desire to do bowls. Much has been said about that!:D Some on the creek remind me frequently!:D

In all honesty, for me, doing a good bowl is very difficult. I admire the work of others that post such fine examples. I think my difficulty comes from lack of desire on my part. There is something about turning a bowl that is very therapeutic in the process, but it doesn't satisfy my need for expression. I have done 44 turnings to date (not counting the first set of legs and a handful of ornaments). Of those, 18 were bowls, and I struggled with every one of them.

I am a thinker - my mind is never blank. It is a curse, literally! My wife and I have joked about it for decades, but I am always thinking/planning something. True relaxation for me is difficult. When I watch TV, and am up and down several times, and always reading something at the same time. When I am in a treestand, I am thinking about something - and, all the while, trying to keep my eyes and ears in tune with my surroundings!

All of this I say to get to here - I do plan my turnings to the end. I have a visual picture of what I want them to be. The original conception may come from another turning or turnings I have seen, or just out of the blue. On the more complicated ones, I will do a scaled sketch in order to get the proportions to suit me. However, I do recognize that "opportunities" occur while turning, and that is illustrated by Sean's comment -

And, related to that, Roger's query -
[QUOTE=Roger Chandler;1493946]For example, in planning for a work of art, using several different species of wood, one might gather all materials, and find that a particular piece of maple for example has a defect, that wasn't noticeable until it was turned away a bit. Then, the turner is faced with a decision, to either stick with the original plan, or salvage the defected wood by changing the design, somewhat.
I am not sure what separates folks, what makes one an artist vs. someone that is not considered an artist. I know only what makes me tick - and, sometimes I ain't real sure about that!:D;)

But, when I reach a point with an element of a piece, and I am faced with a design change, my first inclination is to abandon the noncompliant element, and get one that will work. That is not saying that I would not, and do not, make adaptive changes in my plan, but they must fit the overall conception. Substantial deviation is difficult for me.

I do sometimes "develop" a piece from a partial idea. Right now, I have a small piece of cherry burl on the lathe, and I have it very rough shaped. I know within an inch or so, the ultimate combined height of the various elements, but I am still not fully decided on a couple of things. I probably will not touch that piece again until the plan is more fully developed as it may affect the nuances of the form.

My method may seem bizzare, and I am certainly not advocating it for everyone. It is just what satisfies my need to create. And, that gets us to here -

The touchstone - the goal - is to make something "good." ...One cannot teach artistic skill that arrives at something original, because to get to the original work an artist has to follow his or her nose and express themselves - it's very personal and full of decisions and reactions along the way.

As far as a signature style, I am not sure I will ever get there! I seem to like hollowed forms, but I also like pieces with multiple elements. I like combinations of woods, combinations of form, and the ability to include some spindle turning in with "bowl" turning.

So, for whatever it may be worth, that is where I am at this point in my relatively short 8 month journey into "bowl turning!" Sorry to be so long winded.

[Roger Chandler]

Thank you John,

An explanation of intent and process is very helpful, at least to me, personally. I had a feeling that if a defective piece came up during the process that you would try to replace it. I think part of your success is that you do have a complete plan, and you try to, as accurately as you are able; to define that process from start to finish.

A lot of turners [myself included] just have a "general idea," and then proceed to make the curlees fly. My first hollow form attempt "A lot to be desired" fell into that general idea category, and I did not think it through as well as I should have, and that is why I consider it a failure, even though it was my first HF.

During the process, I had to think as I went on how can I get this lid right, or how can I make sure it will fit the opening like it should? I should, I think, have gotten the process at least mostly fixed in my mind before I started the lathe.

I think this is part of your edge, and may be one way you are a head taller than me, at least in achievement in wood turnings. While I am not trying to compare or compete with you or anyone else, the bit of comparrison that I am obviously doing is for the purpose of learning the "How" of process, not just the how of technique. I hope that makes sense to you.

[David DeCristoforo]

There have been so many who have found themselves in this position. Sometimes it's called "going pro". When you do any kind of work souly for the love of the process or the joy of making manifest an idea or vision, you are working as an "amateur". That word has been given some "bad press" at times and there is an implication that an "amateur" is one who lacks the skills and knowledge that a "professional" is expected to possess.

During the early 1980s a new "class" of artisans emerged. These were people who possessed extraordinary skills and a high level of artistic vision. The work they were doing was "world class" and able to stand side by side with the best work ever done at any time in history. Some of these artisans revived age old processes and techniques that had long ago been abandoned in the move to mass production and higher levels of profit.

Many of these artisans were not concerned with earning a living from their work, having other means to accomplish that, and were free to explore and create, unburdened by the need for material return. These artisans were, by definition, "amateurs" in that they did not work for financial gain. At the same time, they were far surpassing the work of most "professionals" who were constrained by those same needs. A new term was coined to describe these artisans who became known as "serious amateurs".

It seems to me that being in the position that John is finding himself is as close to ideal as one can get. He has the means to earn a decent living without having to impose that burden on his art. He is free from the need to capitulate to the demands of financial considerations, leaving him free to develop his ideas at his own pace and with his focus on manifesting his vision. He is free to enjoy the process without the need to worry about levels of production. He can make a piece a year or a piece a day, dictated by nothing more than how he feels about it at the time. At the same time, he has the opportunity to present his work to the public and to offer that work at whatever price level he wishes to set with no real demand or pressure to actually sell the work. I can't imagine how it could get any better than that.

[Roger Chandler]

There have been so many who have found themselves in this position. Sometimes it's called "going pro". When you do any kind of work souly for the love of the process or the joy of making manifest an idea or vision, you are working as an "amateur". That word has been given some "bad press" at times and there is an implication that an "amateur" is one who lacks the skills and knowledge that a "professional" is expected to possess.

During the early 1980s a new "class" of artisans emerged. These were people who possessed extraordinary skills and a high level of artistic vision. The work they were doing was "world class" and able to stand side by side with the best work ever done at any time in history. Some of these artisans revived age old processes and techniques that had long ago been abandoned in the move to mass production and higher levels of profit.

Many of these artisans were not concerned with earning a living from their work, having other means to accomplish that, and were free to explore and create, unburdened by the need for material return. These artisans were, by definition, "amateurs" in that they did not work for financial gain. At the same time, they were far surpassing the work of most "professionals" who were constrained by those same needs. A new term was coined to describe these artisans who became known as "serious amateurs".

It seems to me that being in the position that John is finding himself is as close to ideal as one can get. He has the means to earn a decent living without having to impose that burden on his art. He is free from the need to capitulate to the demands of financial considerations, leaving him free to develop his ideas at his own pace and with his focus on manifesting his vision. He is free to enjoy the process without the need to worry about levels of production. He can make a piece a year or a piece a day, dictated by nothing more than how he feels about it at the time. At the same time, he has the opportunity to present his work to the public and to offer that work at whatever price level he wishes to set with no real demand or pressure to actually sell the work. I can't imagine how it could get any better than that.


Very astute observation David! John is in a uniquely blessed position!

I do like something Thomas Jefferson once said: "it seems like the harder I work, the luckier I get" that indicating that his results received were in proportion to the effort he put forth.

John has worked hard a skill development, and has taken guidance from mentors with more experience than himself, and now all of it is paying off for him. Bravo!!!

[Sean Hughto]

I don't disagree with anyhting you said, but I would make one point. As a general matter, "professional" often denotes a distinction beyond the person getting paid for her work. It can also refer to someone who has devote their lives - their career - 100% of their focus - to a pursuit. In such a context, a "professional" denotes a distinction from a "hobbiest" or more specifically someone who does something full time, as opposed to somone who does it occassionally. Generally speaking, someone who does something all day every day tends to rise to a level above what even the most talented dabbler can hope to achieve.

[Karl Card]

This is probalby one of the deepest threads I have read on smc.

Very good reading though. It is amazing at how much or how many thought processes can or cant be in a turning.

I still consider myself a newbie and still have not done anything drastic. I am okay with that, it will happen in time. The good thing about that is one day when I come out with a beauty of a piece everyone will be saying "you did that"... so i is all good.

I do find myself not much of a planner. Sometimes that is good and alot of times that is bad. I see a piece of wood I like on my shelf and I put it on the lathe, no way of knowing what I want out of it until it is there.

The one thing I do keep in mind is that this is my hobby, my time to myself, my escape from reality, why in the hell would I want to make it a job and let someone else dictate what I make, how I make etc...

John and everyone else on here I admire for being able to know where you have been, know where you are going or not going.

[Sean Hughto]

Krenov had an interesting take on "amateur." As Wikipedia summarizes it:

"Although he made a living of his craft, Krenov referred to his attitude towards his work as that of an amateur, feeling that the competitive attitude of a professional causes one to compromise one's values as a craftsman."

Or directly from one interview:
MR. FITZGERALD: I read that you began making furniture professionally in 1960. Is that correct?
MR. KRENOV: I’ve never made furniture professionally.
MR. FITZGERALD: Well, that you sold furniture.
MR. KRENOV: Yes. Well, I’m an amateur and I always will be. That’s the way I want to die. I’m an amateur by nature and I’m an amateur in fact. And David Pye wrote somewhere that the best work of this century would certainly be done by amateurs.

[David DeCristoforo]

"...MR. KRENOV: Yes. Well, I’m an amateur and I always will be..."

I believe it was Jim Krenov who first used the term "serious amateur" to describe himself and many others who, while attempting to earn a living from their work, were far more driven by the concerns of esthetics than those of finances.

[Roger Chandler]

"...MR. KRENOV: Yes. Well, I’m an amateur and I always will be..."

I believe it was Jim Krenov who first used the term "serious amateur" to describe himself and many others who, while attempting to earn a living from their work, were far more driven by the concerns of esthetics than those of finances.

David,

I think it would have been a great thing to have been in the vicinity of James Krenov or Sam Maloof, and to have been able to visit their shop and talk to them. One of the nice things about California is that there were so many of the greats there, even now you have David Marks who was heavily influenced by Krenov.

[Frank Van Atta]

The ability to constantly come up with different and unusual designs primarily requires that one retain the active imagination of a child. This allows for the conception of new ideas and the ability to see forms and shapes where others see only chunks of wood. How you move from that conception to the realization of the finished piece is largely a matter of personal style, but usually involves a great deal of planning. Whether that planning is done in your head or on paper or some combination of the two doesn't matter, as long as you can eventually translate the thought into solid form.

That's my take on the subject.

[Joe Shinall]

One line of advice, all I'm gonna give.

Just have fun John!

[Jeff Nicol]

Professional is a word to be interpreted by many and truly understood by few. Is it the day that you sell one of your creations the day of profssional achievment? Or is it the time spent creating the piece? Some artistians take years to complete one work of "ART" but in the end is it truly art? We have all seen peices of "ART" displayed here and there for the public viewing and look at it and wonder "What the heck is that?" and say to ourselves.......It looks like a 3 year old did it, how can that be art!

That being said, art it interpretive by the one willing to pay for the piece or to compete with another to have something the other does not have. Collectors of "ART" want to have one of as many, shall I say, inspirational, one of a kind, intriguing, spiritual and so on pieces in their collections.

We at turners are inspired by the wood and the ablility to create anything from it, be it turned, flatwork, carved, burnt, sand blasted etc. Wood is a medium with hidden treasures and hidden flaws that will most always change the direction of the end creation. We all start with an idea, a plan, a desire to end up with something. I for one never have much of an idea what it will become until it is done. I change my mind like the wind blows, for if I try to as has been said "Force my will" on the wood the wood will let me know that it is still in charge and that I am only its pawn in the creative process.

Inspiration is each of our trademarks, what do we use as our "Muse" that puts our mind and heart into the creative mode. For me if the body and soul are not on the same page as the mind, it is like putting a square peg in a round hole! If the desire to do is strong, inspiration can come from anything in nature or our everyday surroundings. Many are directed by neccessity rather than desire, wants and needs go hand in hand in the creative process.

So I believe that John has the soul of an artist, the heart of a lion and the mind of a leader of men! He uses what is in his heart, what is on his mind and what fits soul's reccomendation of perfection to create his great works of turned art! Greatness comes from within but the only true "PROFESSIONAL" is our creator...........GOD...For he has given us all the tools to be whatever we desire, we only need to see that in ourselves and be who we were meant to be, craftsman, artisian, hobbiest, or just a person making chips and curls out of wood.

Long winded is in my nature, so I will end this rambling. May all of us become as great as we can be!

Have a super Friday and great weekend all!

Jeff

[Roger Chandler]

Jeff,

I like your style! "long winded?' As you can see from my previous posts, you have nothing on me there! :D

"Greatness comes from within but the only true "PROFESSIONAL" is our creator...........GOD...For he has given us all the tools to be whatever we desire, we only need to see that in ourselves and be who we were meant to be, craftsman, artisian, hobbiest, or just a person making chips and curls out of wood."

Your quote above is true......The scripture says that "God created man, He created them in His own likeness, male and female created He them" so when he made us , he put a little of Himself in us, through means of His Holy Spirit, and we are "partakers of the divine nature" [KJV]

I just want to be the best me that God created, and realize the best potential He placed in this vessel, whether it is in art, wood working, service or leadership. Thanks for being a part of this thread, and this community of wood turners! :)