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A place for turnings

Po Shun Leong

Collaboration with other turners have produced these pieces. The material from other turners that came into the studio were damaged by earthquakes, unfinished vessels or blanks. I just put them together again in another way. The image shows unfinished blanks from Bob Stocksdale's studio. Scroll down to see examples.

Hell, 2001 The 1994 Northridge earthquake caused extensive damage and was the location of Irv Lipton's large collection of wood art and turnings. since many of the turnings were beyond repair, he asked me whether I could give them another life, knowing that I used bits and pieces on my wood art, like a construction set. Hell is an eight foot high column of these remains. Not long after this piece was completed, the objects were dismantled and relocated into other works.

"Hell" was dismantled and the pieces were relocated into smaller objects.

More pieces were located in the "Birthday" exhibition of wood art in Glendale. Earthquake damages pieces including bits of wood turnings were used to support the legs of a long table. Kevin Wallace formally of the Del Mano Gallery and currently at the Beatrice Wood Center for The Arts was the Curator.

"Time Standing Still" 2010 Bob Stocksdale and I collaborated in the Cabinets of Curiosities Exhibition, organized by the Wood Turning Center in Philadelphia. In his studio we found an old clock face and some rough unfinished turnings that he kindly donated for the exhibition. The cabinet's head, inspired from a Roman statue of Hercules is the location of Stocksdale's clockface. On the doors are parts of his unfinished turnings, some complete and others lust fragments.

In the Time Standing Cabinet, detail of wood off cuts from which Stocksdale's turning blanks were cut.

Bob Stocksdale's bowl blanks

"Waiter, 2010", another Cabinet of Curiosity contained a group of Stocksdale's unfinished bowls.

November 19, 2014. Michael C.McMillan, the Assistant Curator at Fuller Craft Museum in Brockton, Massachusetts wrote last Friday, "We accepted a work of yours into our Permanent Collection from the collection of Jane and Arthur Mason." The work is really from the hands of Bob Stocksdale, or rather his broken pieces and off cuts found in his studio. I just put them together in another form.


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