Art Liestman:
I turn spindle blanks that are made up of three laminated layers. After turning, the middle layer is removed and the two outer
layers are rejoined to give a turned object that isn't round. More details can be found in my American Woodturner article "Beyond Round: The Lost Wood
Process" (August 2012). This should be understandable and within the abilities of
any of your members.
Bio
I was born and raised in Kansas, but I have now lived in the suburbs of
Vancouver, BC for more than half of my life. My day job (as a University
professor) keeps me busy and provides lots of stimulation, but I turn to making
wood art whenever I can spare the time.
Although I had a brief and unimpressive exposure to woodworking in a junior
high school class, I began working with wood more seriously when I was a
graduate student. At that time, I was interested in designing and making
experimental musical instruments.
After moving to BC, I fell in with a rough crowd at the local woodworking club.
One of the most interesting things that the club did was to hold an annual 2x4
challenge in which members were challenged to make something using only an 8
foot long 2x4, glue, and finishing products. One of the 2x4 projects that I decided
to make was an automated programmable xylophone. It needed some roundish
parts which was a good enough excuse to add a new tool to my small arsenal - the
lathe.
While completing that instrument, I quickly discovered that turning wood on the
lathe was quite addictive. At that point, I began to focus on woodturning rather
than instrument building. I spent a few years making the usual functional turned
items, but a demonstration by Frank Sudol opened my eyes to the possibilities of
expression in artistic woodturning. After taking a particularly illuminating class
with Jacques Vesery, I starting making my puzzling illusion vessels. Since then,
my life in wood art continues to evolve.
In addition to the puzzling illusion, I've enjoyed exploring other surface
enhancements using pyrography, carving, and coloring. I have a particular interest
in making pieces on the lathe that do not necessarily appear to be turned. I'm not
opposed to working off of the lathe, but virtually every piece that I make is based
on a turned form.
I have demonstrated at many national and regional symposia, as well as for
dozens of local woodturning clubs. I have also taught week long courses at the
John C. Campbell Folk School and at the Arrowmont School of Arts and Crafts as
well as some single day classes for local clubs. My work has been seen in numerous exhibitions and is available through galleries across North America.