Elusive

[David DeCristoforo]

OK. So you think you understand what the word "elusive" means. Maybe you think that true love is elusive. Or maybe, for you, it's achieving a higher state of consciousness. Sam Maloof used to talk about "that hard line" he often used to accentuate the curves of the chairs he was famous for. Making that hard line was easy, he would say, but making it mean something is another thing entirely. I have no idea what Sam thought that hard line meant but there was no way you can look at one of his pieces without feeling something you don't often feel when looking at a chair.

These hollow forms are like that, trying to find the "sweet spot" that makes the difference between a nice looking form and a piece of art that stirs something in the viewer. You think you have it. Just tiny little bit of adjustment… right there where it starts to curve into the bottom. You take your sharp gouge and touch it to the wood. Perfect presentation. The fine spray of shavings is almost imperceptible. But suddenly, the line is lost, the fine balance and flow vanishes right before your eyes, the magic is gone and you are left with another of a thousand "nice looking" forms.

Many have said that making a hollow form is not that difficult. With sharp gouges, basic skills, captured or articulated hollowing rigs and laser light guides, it is a turning form that is within reach of most of us. But capturing that sweet line that takes the eye on a joyful and effortless trip… that is enough to redefine the meaning of the word "elusive"! And making one of a "target size" is even more so. The form tends to get smaller and smaller as one make all of those fine "adjustments". This one is 7" in diameter and is made from the same "found" burl as the last one I posted. someone suggested this was a honey locust/mistletoe burl which sounded good to me so that's what I'm going with. This is also the thinnest one I have done with a wall thickness of just over one eighth of an inch. However, I find that I am not liking the thin wall form as much as previous ones where I left it at around a quarter of an inch. The thin one just does not have that "substantial" feel of the slightly heavier forms. Another factor that can be affected by a small change. Sanded to 1200 and wax polished.

I spent more time than I should have thinking about adding some color or making a lid and finial for it. But in the end, I decided that this was an exercise in form so I left it "as is". I still don't think I ended up with the form I envisioned. But I have another piece of this wood and it's ripe for another go.

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[Doug W Swanson]

I love it, David. While I can't judge the weight from here, the picture sure looks good!

[Robert Henrickson]

Looks great. Good shape and I'm glad you left it natural.

Interesting meditation on finding the form. Lots of shapes can indeed be "nice", but "sweet" is something more, much more. And rarer.

Articulated rigs, laser guides, etc are technical aids. You can get uniformity of thickness, you can get thin (or really thin) with less anxiety, but that has nothing whatever to do with achieving the 'sweet spot' or 'sweet line'. Technical excellence (or perfection) does not also guarantee aesthetic success.

I'm also intrigued by your comment that you were less happy with a thinner wall, that its feel lacked substance. I've liked some of the thinnest things I've turned, but some of the feeling is "I actually managed to pull it off" as much as "That looks GOOD". The eighth vs quarter inch is probably where I would tend toward the somewhat thicker. I am much more interested in the quality of the shape than the thickness of the wall.

[Curt Fuller]

I also find the perfect form to be elusive.......to me at least. There are several turners who seem to nail the form every time. I've found myself wondering if I'm just too critical of my own turning and not so hard on others. Or if others are just more generous with their comments than I am with myself. Whatever it is, I've yet to turn my first perfect form. But, your form on this piece is perfect in my eye. I could not point out anything about it that would make it better. Even the wood orientation from this view seems to be perfect, even though that would change as you rotated the piece. But I can also empathize with your feeling of how difficult it can be to call it perfect.

I also found your comment on the "substantial" feel of heavier forms interesting. I've watched people's reaction when they pick up my own work. When they pick up a particularly thin, weightless piece they tend to put it down quickly and carefully. But they'll usually caress a heavier piece to experience that smooth, soft, yet substantial feel you get from a nice piece of wood. I think that can have as much appeal as the visual beauty.

[Steve Schlumpf]

David - that is one very nice hollow form! Beautiful wood, excellent form and I really like the soft finish!

I can definitely relate to your description of elusive and how it applies to turning. Hollow forms are not that difficult to turn - when you put in the time to learn how to do it - but it is the constant chase to capture the form you see in your mind's eye that makes it all worth while. Every now and then - I get close and that keeps me motivated to keep on trying!

[Norm Zax]

Love the form and wood. Great job!

[Allan Ferguson]

I always like to see your work, and this is no exception. Your thoughts ring true.

[Michelle Rich]

lovely soft finish..great wood..bold shape with a tiny neck.. I think there is a fine line between too thin & a tad thick..I err on the side of thick..when folks pick it up, if it's like air, I've found they pass on it..they are afraid it will break.
I'm not the greatest fan of HF's, but this one does grab my eye

[Kathy Marshall]

Beautiful piece David! If you ask me, I'd say you nailed it. Love the form, beautiful wood and nice soft finish. Looks close enough to perfect as to be indistinguishable.

[francesco dibari]

wonderful work , :)

[David E Keller]

Lovely piece, David! As much as I enjoy the photo and your work, I believe that I enjoyed reading your description of the process and it's potential frustrations and joys even more. I've thought a fair bit about the elusive perfection you mention, and I certainly haven't happened upon any truths. I've done a couple of pieces that really tickled that chord for me, but they are few and far between. The process is nearly always enjoyable, but I rarely create something that continues to hold my interest once it leaves the lathe.

[Thom Sturgill]

Very Nice David, and eloquent description of the 'art' vs 'technical' aspects. Curt, I think the artist is ALWAYS more critical of their own work as they and only they, have the image of what they wanted the piece to be. In other words, others take the piece for what it IS while they see what it was meant to be and how far or close they came to that..

[Steve krum]

I can see I'm a rank amateur compared to you but let me tell you a story. I have had a lathe for a lot of years but only in the last 2 years or so have I gotten serious with it. Early on I turned a natural edge walnut bowl, about 10" across and around 5" deep. I was happy with the effort but it was green and I could not get it to sand down to suit me. Seemed like I had tear out no matter what I tried. Tried several different techniques but in the end I stuck it on the "fails" shelf. One day the wife is in the shop and she spies it and says "I love that, it's very rustic looking". Since then it's been in the kitchen and she's had wooden pears in it. Everyone who sees it has to touch it and admire it. Recently I took several items to a local shop who is wanting to partner with local craftsman/artisans and on a whim I took that bowl. Guess which one they like the most? To sum it up and it's been said many times, "beauty is in the eye of the beholder" With that said I think your hollow form is beautiful indeed!

Steve

[Nate Davey]

The perfect form you alluded to does not appear to have eluded you. Beautiful wood and the finish is right up my alley. Very nice David

[charlie knighton]

very nice David

[Dick Mahany]

This piece is spectacular! I love the combinations of the burl figure and the beautiful colors of the wood. This form IMHO is perfect and is much like one that I have had in my head, but been unsuccesful in producing after numerous attempts. You nailed it and I still find the persuit of such an exquisite form elusive.

I also really like the photo and contrasting background very much, and have added a copy to my "aspirations" folder. Thanks for sharing it.

[Eric Gourieux]

You nailed it! And, the turning looks nice, too. It seems that I'm always thinking that way. Change the curve a little bit and you end up changing and changing and then the piece is smaller and smaller.

I respect that you didn't hit your intended form perfectly, but I love it! It's a good thing that we enjoy the process of making these. It's that pleasure and the search for the elusive that keeps us going.

You're an inspiration. Keep turning and posting.

[Scott Hackler]

In our little neck of the art world, it would seem that the more forms and shapes we get under our belt, the more we morph our current pieces into a reflection of all our previous work. We have all turned terrible forms. Whether the shape is off or it's too thick/thin or even the finish lacks something to be desired. Time at the lathe is the cure and the answer towards the perfect (or close to it) form. Sometimes it's just a matter of teaching our hands to create what our mind sees without creating something that lies to our eyes and fools us somewhat that "we did it"! Lately I find myself walking away from the lathe/piece for a while and/or looking at it from across the room and different angles. More than not, I have more to turn off and lines to correct!

For this piece I definitely see your recent sphere work. That round shape works great in this piece and helps to pull off the appearance of an excellent turning. A lot of HFs (including mine) tend to have the heart shape. The round is a more difficult form, IMO. Nice work David...now repeat it!

[Rob Price]

I like it!

[Baxter Smith]

Very nice work with a great curve David! I can relate to the elusive part. Once in a grea while I see it in a small part of something I am working on. Somehow it never seems to stick around to the end.:)

[Rick Markham]

Well said! Well turned, I'd agree I think you nailed this one. I also agree with Scott, and it's an important aspect of our art that we don't nearly address enough. Stepping away from our work! In painting you have to step away from your work, the areas that need refinement often times can't be seen from the perspective we work at. ;)

I'll add my $.02, being an obsessive perfectionist :eek: the most important thing I have learned throughout all of my artistic endeavors is knowing when to let go. I think you let this one go at just the right time! If I didn't let go many of my forms and other creations would just end up being curlies on the floor or "dust in the wind" :D

[Mark Hubl]

Needs some color and a finial.

Not. Wonderful wood. Maybe not todays perfect curve, but certainly yesterdays. Sometimes the turners eye is too critical. Even if you get it perfect the wood will tease you with a bit of a change. I would call this a very nice orb.

[Cody Colston]

I know you're tired of following
My elusive dreams and schemes
For they're only fleeting things
My elusive dreams


I guess you know I'll be hearing Nancy Sinatra and Lee Hazlewood singing "My Elusive Dreams" in my head for the rest of the night!

Actually, I think that HF is just right as-is. I like it a lot with it's earth tones and unembellished shape. IMHO, art doesn't have to be flashy or sensuous or perfect to be appealing. (like I know anything about art). :rolleyes:

[David DeCristoforo]

One thing that has not eluded me is replies to this post! I really appreciate all the comments...

[BILL DONAHUE]

That's simply beautiful. It captures the form of some of David Ellsworth pieces and that's saying something.