Debut as wood artist – Philadelphia Museum of Art Craft Show, 2011
40/30: Forty Year of Vision, Thirty Years of Programming - The Center for Art in Wood - 2016
Medialia Gallery - New York City - April 2014 and June 2015
The Balvenie Rare Craft Tour - 2014-2015
Center for Furniture Craftsmanship - Turning Twenty - 2013- 2014
Wayne Art Center (Philadelphia) - Craftforms 2013
Make Room - ACC shows in San Francisco and Atlanta 2013 - 2014
Center for Art in Wood: Robin Wood’s CORES Recycled - 2012
Award of Excellence, Craft New York, 2012
American Woodturner Magazine: Special Gallery, April 2015
SOFA Catalog: Beyond Boundaries: Wood Art for the 21st Century - November 2014
Catalog: Robin Wood’s CORES Recycled, Center for Art in Wood (Upcoming)
Woodturning Magazine: Michael Scarborough in Profile - June 2013
American Craft Magazine: “The Second Act” - Dec./Jan. 2013
Why I Make: Because Beauty Still Matters – American Craft Council Website
From Devastation Beauty Will Rise – American Craft Council Website
Beauty in Boston (Strong) – American Craft Council Website
Names – The Gilders Tip Magazine
Gilded Butterflies - The Gilders Tip Magazine
Creating Texture Using Paint - Woodturning Magazine (A series of 4 articles will be presented in 2013-2014.
Jeff Bernstein and Judy Chernoff
Harvey and Fiona Fein
Albert and Tina LeCoff
Bill and Paula Mitchell
Steve Keeble and Karen DePew
Bill and Dina Weisberger
My great-grandfather was a mosaic artist from northern Italy, and my dad built me my first workbench when I was five years old. So, it seems that I inherited a love for fine art and craft through both nature and nurture. The greatest influence on my early life, however, was growing up in rural Japan in the late 1950s, within walking distance of the ancient Kintaikyo Bridge. It was a place and time that seemed lost to the ages. As I watched Japanese carpenters and artisans at work, I was impressed, even at a young age, by the respect they showed to the materials the earth had given them. I do my best, as I work in my studio here in NYC all these years later, to show the same reverence towards the materials I find and use.
After college, a twenty-five year “detour” as an international opera singer, beginning as an apprentice with Santa Fe Opera and culminating as a soloist in Carnegie Hall, offered numerous opportunities for visits to museums, galleries, and artisans’ studios. This provided an “un-official,” but rich and wide-ranging art education. I later spent time at The Institute for Classical Architecture as well as Parsons School of Design.
My work has been exhibited at The Center for Art in Wood, The American Folk Art Museum, The Delaware Art Museum and can be found in private collections across America.