Nature vs nurture

[John D Smith]

Hi Fuzzy,
            I am not a computer literate person most forum members post their pictures about 480 X 640 if I remember that was the recommendation when I first joined the Forum I do like to look at pieces complete without having to scroll and mess about because most likely I would make a cock up.

                                                                 Regards John (Computer Nurd)   

[bodrighywood]

Hold the ctrl key and scroll to increase or decrease the size.

Pete

[Bryan Milham]

Fuzzy,

always interested to see things done differently.

A Platter, is a platter even in interesting wood, but putting it on the balance with a ball, suddenly it's a sculpture.

[Mark Hancock]

I like the idea behind this piece but as has already been said I find it too busy with all the different colours of the timbers used. I'd prefer a more simple contrast between the elements - more black and white/Yin and Yang. Also does it need the 2 elements to the base? May be more effective without the black tripod base?

[fuzzyturns]

Again, many thanks for the plentiful feedback.
George: there won't be much weight difference when they dry out, as the timbers used were pretty dry already (around 13-14% MC), and since they have the same weight, they also occupy the same volume (roughly), and therefore will more or less lose the same amount of water. We'll what happens over time.
John: I will keep this in mind, and will post smaller pics. Apologies for the inconvenience.

As Mark will know, I experiment with ideas. Some of them work, some don't work at all, and some need development. I think this one falls into the latter category.
During the seminar, Ambrose O'Halloran made a very clear point about the distinction between Workmanship of Certainty (used in mass production) and Workmanship of Risk (used in art). Clearly, if we want to develop wood turning as an art form, we will need to take risks. And that includes the acceptance that not everything comes out perfect the first time. I am happy to accept that, so look out for (or forward to?) variations of this piece (and the entire theme).

[The Bowler Hatted Turner]

So this brings on another question Wolfgang, how did you come up with the title for this piece?

[fuzzyturns]

The title came to me when I had the dish finished. It has such a wild figure, almost like flames, and the wood has just about every single flaw/feature you can imagine: there's a bit of curling going on, there are branches going through, and it has cracks (some filled in with epoxy and brass powder). Nature at its very best. The opposing, balancing item was always going to be a sphere, which in itself is the ultimate perfect shape and also totally unnatural, i.e. artificial. It does not come into existence unless we make it so. There's your title: Nature vs. Nurture.

[Mark Hancock]

The title came to me when I had the dish finished. It has such a wild figure, almost like flames, and the wood has just about every single flaw/feature you can imagine: there's a bit of curling going on, there are branches going through, and it has cracks (some filled in with epoxy and brass powder). Nature at its very best. The opposing, balancing item was always going to be a sphere, which in itself is the ultimate perfect shape and also totally unnatural, i.e. artificial. It does not come into existence unless we make it so. There's your title: Nature vs. Nurture.

I like you thinking behind the title but have to correct you on the sphere being totally unnatural in nature - a drop of rain dripping from a surface creates a sphere as it falls - remembered from a physic's experiment at school many years ago

[bodrighywood]

Didn't the used to make lead shot by dripping the lead down a chute as well?

Pete

[fuzzyturns]

Mark: Granted, but that's a very ephemeral shape. As soon as it makes contact with any surface, the sphere disappears. :-)

[GBF]

Know all.

Regards George

[The Bowler Hatted Turner]

Thanks for thst fuzzy, always nice to know how these things come about.