Robin Wood’s Cores Recycled: Exhibition and Fundraiser
Nov. 2, 2012 – Feb 2, 2013 (extended to Feb 16)

In the exhibition gallery below you can read details of each work by clicking on the “i” icon located in the upper right corner of each image slide. To enter the full screen mode click on the “FS” icon located in the lower right corner.

Robin Wood’s Cores Recycled: Exhibition and Fundraiser (Nov. 2, 2012 – Feb 02, 2013)

[img src=]21410Hayami Arakawa
Capsule Hermetica, a container for an object of rarefied distinction, 2012
Core, pine, brass, auto lacquer
5 1/4 x 9"
Upon receiving my core sample in the mail I imagined the object as a primal hockey puck, so I pushed the oak core around the grass with hockey stick fishing for inspiration. I continued this interactive sport method by flipping the core around with a lacrosse stick followed by around of bowling with scrap pieces of wood as pins. This method of interactive inspiration while fun ended up being fruitless and arguably misguided. The Core sat passively for weeks next to my computer. One day I was rushing to work and grabbed the core
sample by accident, it being the approximate size and weight of my external hard drive. Getting to work I could only laugh at my blunder. The laugh was in part at my silly mishandle and in larger part panic, because I knew I would be totally improvising a lecture in thirty minutes. Surviving that teaching day and on my drive home I imagined this ovoid chunk of densely packed fibber as an organic hard drive of sorts, a repository of knowledge, history, fact, mythology…. an “artifactoid” if you will. I started to design a protective case for this precious keeper of human knowledge, imagining that it would be found decades, centuries or millennia later. Possibly
pondered over by some advanced race or perhaps by some curious kid digging through the dirt looking for something to play with. The core’s surface should be protected as well, ten coats of auto lacquer should suffice and the color red would indicate its importance potential. Inspired by the proximity to a computer I decided to design and fabricate the container using the CAD/CAM machinery at MIT. I chose pine to construct
with because of its resistance to rotting and its ease of machinability.

[img src=]11310Michael Bauermeister
Expanded Core, 2012
Core, sycamore
17 x 6 x 6"

[img src=]10460Derek Bencomo
Harmonica, 2012
Core (maple), pigment
4 x 4 1/2 x 4 1/4"

[img src=]9400Garry Knox Bennett
Flotsam & Jetsam, 2012
Core, sand, paint, seashell, rock, twig
4 x 10 x 8"

[img src=]9900Garry Knox Bennett
Core #3 – Nailed it!, 2012
Core, steel
6 3/4 x 4 3/4 x 4 1/2"

[img src=]8100Garry Knox Bennett
Procreation – The Aftermath, 2012
Core, painted copper, taxidermy eyes, bone, plastic, motor
10 x 8 x 8"

[img src=]8140Jérôme Blanc
Wood’s Candy, 2012
Core (maple), red dye
2 1/8 x 2 1/8"

[img src=]7000Jon Brooks
Norman, 2012
Core, maple, acrylic
13 x 22 x 10"

[img src=]7410Phil Brown
Mini Vortex, 2012
Core (beech), epoxy, oil
1 1/4 x 2 5/8 x 2 5/8"
A piece so small is a challenge because it is a size I don’t usually work with. The core=s beet form and spalt lines suggested a flare or vortex, a form of vessel I have enjoyed creating for many years. It was a bit intimidating to undertake, for fear of messing up this one available piece, until I started turning it. I like the result.

[img src=]7050Zina and Sorin Burloiu
Interferences, 2012
Core, paint
1 1/2 x 4 1/4"
Spinning Top: 1 1/2 x 1 3/8"

[img src=]5800Michael de Forest
Round and Round, 2012
Core, milk paint
3 1/4 x 4 1/2

[img src=]7320Luc Deroo
Butterfly, 2012
Core, black gesso
3 1/3 x 3 1/3 x 3 3/4"

[img src=]6770Neil Donovan
Timping Gauge, 2012
Core, ipe, cherry, brass
10 x 15 x 4"
I imagine my imaginary tools and machines in an exhibition with visitors moving from object to object. I hope passersby will stop and ask, “What is this”? It is familiar but I can’t name it. What does this thing do, what is this?” If the works are successful, the viewer will engage, at least momentarily, beyond casual visual inspection. Ideally, the viewer will want to handle the piece, study it and perhaps feel some level of frustration at not being able to fulfill that human need to name and categorize the objects that we encounter.

[img src=]6860Peter Exton
Rough-Cut Diamonds, 2012
Core, cocobolo
3 1/2 x 2 1/4 x 2 1/4"
I thought it would be fun to make a diamond turning out of my Core. In “Rough-Cut Diamonds” I’ve attempted to contrast an ordered arrangement with some loose, freehand tool work, allowing for rips and tears and breaks. The idea was inspired by a desire to break with previous refined work, and by ancient ruins, which even as they crumble can be very evocative.

[img src=]6200Doug Finkel
The Modern Stone Age Family Rover, 2012
Core, boxwood, walnut, red oak
7 1/2 x 7 1/2 x 13"
From right out of the box, my core put into my mind this drawing by H.R. Giger which became the inspiration for my piece. (The drawing was done as an idea sketch for the making of the movie Dune.) The form of the drawing’s subject has an obvious relation to the form of the core, but I was also cognizant of the conceptual elements that they shared in common. The core was created here and now in the 21st century on a lathe that harkens back to an ancient technology; Giger’s drawing speaks to a sci-fi future, a la Bladerunner, that has experienced a long and tumultuous past. Each embodies a blending of technology, time, and human-ness. This idea, in fact, left me feeling reluctant to change my core too dramatically for fear it would lose this aura. I’ve also been teaching Woodworking to middle school students for the past two years and simple cars are a common project in my classes. This exhibition seemed like a perfect opportunity to try my hand at one myself. I enjoy making fun pieces that are inspired by cartoons. My hope is that Fred Flintstone would enjoy a day-trip in this modern stone age family rover.

[img src=]6360Ron Fleming
Fern Platter, 2012
Core, dye, acrylic
1 x 4 1/4"

[img src=]6240Satoshi Fujinuma
Dear Robin, Thanks Tasty Cake. Sincerely Yours, Japanese Wood Worm, 2012
1 3/8 x 2 3/4 x 4"

[img src=]5350Laurent Guillot
Core than precious, 2012
2 x 5"
The opportunity to change a piece of wood considered as a scrap is an amazing goal. My response in the field is to elebrate the fragility, transparency of the wood, my tribute to the nature by the “core than precious”…

[img src=]5810Peter Harrison
Rotary, 2012
Core, sapele, stainless steel
7 x 10 1/2"

[img src=]5490Doug Haslam
Adamski Call Home!, 2012
Core, pernambuco, mixed media
6 x 4 1/2 x 5 1/2"
When I was growing up, George Adamski’s “Inside the Spaceships” was part of the family library. His descriptions
of meetings with “space brothers” and voyages to Venus piqued my curiosity but it was the line drawings of flying saucers and motherships that really fascinated me. Although I can’t actually remember if I believed any of it or not, memories of times looking at the book has become an important part of my personal nostalgia reminding me of an innocence not entirely left behind.

[img src=]5870Michelle Holzapfel
Cores Collage Arranged According to the Laws of Chance, 2012
Core, mixed woods, found objects
32 x 18 x 6"

[img src=]5660Richard Hooper
Reactor Core, 2012
Core, glass, metal
4 1/2 x 23 x 5"

[img src=]5690Beth Ireland
Metamorph, 2012
Core, milk paint
2 x 11 x 3/4"

[img src=]5520Michael Kehs
Hint of Flight, 2012
Core, paint
3 x 4 1/2"

[img src=]5070Max Krimmel
CORE Dreams, 2012
Core, color photography
9 x 5 x 5"

[img src=]5110Simon Levy
Night Owl, 2012
Core, metal
2 1/4 x 2 1/4 x 2 1/2"
Wood is an ideal medium for sculpting; each piece is naturally unique, containing attractive and supple qualities. By design, the lathe-turned vessels here (some with lids and additional support elements) are purely intended to bring everlasting enjoyment. Distinctive abstract surface applications, give further individual identity to these One-of-a-kind objects.
Born 1946, in Los Angeles, California and attended the Art Center College of Design, Los Angeles, California (1966–69). My studies included: drawing, painting, graphic design and photography. Then served as an art director in the recording industry for more than twenty years, involved with album package design, print advertising and marketing.
With a lifelong and deeply personal interest in the visual arts, making the transition in 1996 from two-dimensional graphic design to three-dimensional form, was a natural progression. The process is basically two fold. First, the vessels are lathe turned; then complimentary elements are created, surface designs are developed and applied utilizing: freehand drawing, pyrography (woodburning), carving and low-relief engraving, some are enhanced with pigment.

[img src=]4990Yoav Liberman
Artifact, 2012
Core, mahogany, canvas, steel, cardboard
6 1/2 x 5 x 3"
My piece is a take on the reverence with which we choose to handle and display important artifacts from prehistory or antiquity. It includes an archeologist’s scale (in CM) and delicate painted steel arms to ensconce the precious object. I treated the core with bleach to lighten it, giving it the appearance of a bone or clay artifact, hence the piece’s name: Artifact.

[img src=]5150Robert Lyon
The Doodler’s Dream, 2012
Core, pencils, erasers
8 x 4 3/4 x 4 3/4"
Robert Lyon’s interest in architecture, especially the cylindrical forms of Italian architect Aldo Rossi, small granaries from the Ivory Coast, and the ancient towers of Iraq, led him to making circular forms. Looking for a practical method of working with these forms brought him to working with the lathe. Rather than simply relying on the beauty of the wood and traditional forms, Lyon is concerned with form and color and their ability to express his ideas. Beauty, fragility, memory, and our connection to the earth, have been continuing themes in his work. Using wood, along with other materials, Lyon tries to make the effects of his hands evident. His early lathe work with pencils originates from an interest in memory. Lyon’s mother had recently died and she had suffered significant memory loss during her illness. Her illness made him question our thoughts and where they go? Working in his sketchbook, he realized that graphite and erasers were good visual metaphor for the way our brain works. The smear of graphite is like memory, always fleeting, never permanent.

[img src=]4810Gord Peteran
"Before" and "After", 2012
Color photography
18 x 21" – Two Framed Photographs

[img src=]4950Michael Peterson
Untitled, 2012
Core (oak)
2 1/2 x 3 1/2 x 3 1/8"
I admit that this piece was approached rather cautiously and conservatively, with a real admiration for Robin Wood’s work and the process represented in the oak core I received. “Hand carved” seemed in accord with the core’s origin. It was a pleasure to explore the potential of an unfamiliar material with my familiar surface treatments. I like the intersecting lines and texture that resulted.

[img src=]5090Hilary Pfeifer
Have Nothing In Your House That You Do Not Know To Be Useful And Believe To Be Beautiful (For Todd Akin), 2012
Core, mixed media
17 x 5 x 4"

[img src=]5060Carl Pittman
From Earth to Oxygen, 2012
Book: Core (pear tree), copper wire, ammonite, book pages from "Turning to Art in Wood"
2 x 3 1/2 x 1 3/8
Earrings: Core (pear tree), sterling silver 1 3/4"
Book: $185
Earrings: SOLD
I have wanted to pursue book making for several years, but until I am ready to put my full focus on it I let it stay a thought in my mind. Two months ago I dove in head first and began the book making process. The process from start to finish is rather long, yet so fulfilling! After much consideration on the core I chose to make a book as that is where a lot of my focus is directed now. When I found that I had a little wood left over I decided to make earrings as well. That is where the rest of my focus is directed as of late. Jewelry is sculpture on a small scale and apart from books it has captured my attention for
well over a year now. The book is my first that you look at and not write in. A lot of time went into choosing pages that resonate within me. From Albert Lecoff to Mark Lindquist to Robin Woods to George Peterson(my mentor) each page has a little piece of what inspires me on my creative journey.

[img src=]4410Jeannette Rein
Sea Urchin, 2012
Core (walnut), silver, acrylic paint, carnauba wax
1 1/4 x 1 1/4 x 1 3/4"

[img src=]5040Gabriel Romeu
Core Intersection Wall Lamp, 2012
Core, oak, purpleheart, aluminum, copper leaf, acrylic, ABS plastic, halogen lamp
32 x 16 x 32"
Buy It Now: $975

[img src=]4760Randall Rosenthal
Match Book + Box, 2012
Core, acrylic paint
1 3/4 x 3 1/4 x 2 3/4"

[img src=]5100Jamie Russell
Rockabye Birdies, 2012
Core, padouk
2 1/8 x 5 x 3 5/8"

[img src=]4790Joshua Salesin
Core-upted, 2012
Core, African blackwood
3 x 6 x 4"
“Core-upted” creates a lineage of turning expression by preserving part of the visual history of Robin Wood’s “core” waste-product (located in the center of the work) and then “upted” it by adding another layer to the archeological history of the turning, so perhaps 1,000 years from now one could reconstruct our activities — from Robin’s turning on an ancient pole lathe (a technique that dates back 2,000 years) to my turning on a rose-engine lathe (a technique that dates back 500 years).

[img src=]4990Norm Sartorius
Plum Spoon, 2012
Core (plum wood)
3/4 x 2 1/2 x 2 1/2

[img src=]4720Merryll Saylan
Core Ore, 2012
Core, poplar, milk paint, acrylic
5 x 5 x 4"

[img src=]4890Michael Scarborough
Akai Maru (Red Circle), 2012
Core, paint
1 3/4 x 4 1/2"

[img src=]4740David Sengel
My Grandfather Recycled Everything, 2012
Core, old wire, paint
5 x 3"

[img src=]4160Jack Slentz
A Little Jack Slentz, 2012
1 1/2 x 1 1/2 x 1 1/2"

[img src=]4650Brad Smith
165 Heels, 2012
Core, cherry, poplar, willow, ash, milk paint
34 x 13 1/2 x 13 1/2"

[img src=]4740Alan Stirt
Textured Bowl, 2012
Core (oak), milk paint
2 1/2 x 3 1/8"

[img src=]4720Holly Tornheim
Between Tides, 2012
1 1/4 x 4 x 4"
As an artist, I find the natural world – from the molecular to the human-scale to the cosmos – provides a continuous source of inspiration to me. As a carpenter, door and furniture maker, carver of both sculpture and functional pieces, I value the versatility and the warm-to-the-touch feel and glow of polished wood. The whorls in the core that I was given brought to mind the movement of water and layers of growth in shells and led to the composition of this piece.

[img src=]5000Neil Turner
Coral Core, 2012
2 5/8 x 4"

[img src=]5060Joel Urruty
Casa, 2012
Core, 23K gold leaf
6 1/2 x 3 1/2 x 2
As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual language. The figure is abstracted to a minimalist form, void of any superfluous information. The primary material, wood, is often masked by paint to allow the form to take precedence over the material. Monochromatic colors, such as, black or white are often used on the sculptures allowing light and shadow to play off the subtle shifting facets of the sculptures. This is what I do. Why I do it, I don’t really know. I do know that there is something deep inside that drives me to make these things. Things I don’t completely understand myself. But when a piece is finished and it feels right, I know I have done what it was I was suppose to do and move on to the next.

[img src=]4400Derek Weidman
Little World, 2012
Core, cherry, acrylic
4 x 3 x 1

[img src=]4750Christopher Weiland
Spin Top Series: Cast and Die, 2012
Core (beech), maple, cardboard
5 x 4 x 4"

[img src=]4980Kim Winkle
Hub, 2012
Core, milk paint, wire, thread
10 x 10 x 20"
Employing traditional furniture making techniques and materials, I build forms and structures with results that are, often times, untraditional. My interest lies in the pursuit and potential of the medium as an expressive device. I use hardwood, paint, and graphite to create my works. The forms are generally streamlined in order to better play the role of an empty canvas for color and line. I activate the wood by painting and drawing onto its surface. This painting is not an act of irreverence for the material; instead I am interested in realizing its potential as something other than its naked self. My color palette is rich yet flat. I animate the painted surface with drawn
marks consisting of varied arrangements of lines and dots; the combination of these marks result in an exciting, and somewhat quirky, dialogue of characters. These inscriptions serve as pattern, embellishment, and residual evidence of my hand. I strive to create an apparent sense of spontaneity, nuance, chaos yet order, rhythm and gesture with these marks; all working in concert to imbue the object with individuality and charm. I am seeking to find a balance of proportion, form and surface enhancement as I transform the common furniture format into something that is very uncommon. My goal, ultimately, is to create an object that is sophisticated yet approachable, has intention but is not overly serious, displays equilibrium between function and design and, in the end, brings pleasure and something new to the user.

[img src=]4320Robin Wood
Art, 2012
Core, digital media (with a personal message from Robin Wood)
2 1/4 x 2 1/2
Buy It Now: $400

In the gallery above browse images of the work. To read the details click on the “i” icon located in the upper right corner of each image slide. To read additional information enter the gallery in full screen mode by clicking on the “FS” icon located in the lower right corner.

Robin Wood of the UK is an accomplished pole turner and author, known for his historical and functional objects that help keep the tradition of pole turning alive and in front of the public.  The leg-powered process Robin uses results in hundreds or thousands of solid, round chunks that get broken out of the center of the bowl at the last moment.  The refuse of this process is known as a CORE.  The CORES fundraiser was inspired by Robin’s installation in The Center’s Challenge VII: dysFUNctional exhibition (2008).  He submitted a pile of CORES, representing the remainders of bowls turned over a two-year period, and a video, documenting how bowl turning on his pole lathe results in heaps of CORES.

The CORES, of various woods, are unique in color, size and shape, depending on the interior shape and diameter of Robin’s bowls. They range from 2” x 2” to 3” x 4.”  Many are hand-sized; a few are the size of two hands. Robin Wood donated to the Center 100 cores to be used for this exhibit. The Center sent out a core to select artists unseen who have agreed to rework and turn the Core into a new piece of art. Sales of the work exhibited in Robin Wood’s Cores Recycled will go to benefiting the Center’s 2013 programming.

Robin Wood’s CORES Recycled: Exhibition and Fundraiser
November 2, 2012 | 5:30 – 8:30 P.M.
The CORES Recycled fundraiser sale begins at 5:30 pm in the gallery. Immediately, you can buy your favorite CORE(S) on a first-come, first-buy basis for the BUY IT NOW price ending on November 14th. Objects also are viewable online and can be purchased by calling us at 215.923.8000.

Robin Wood’s CORES Recycled: Online Auction
Thursday, November 15 – Sunday, November 25, 2012
Sales continue with an online auction of remaining works that did not sell during the Buy It Now opportunity. If interested in participating in the online auction you can go directly to (our seller ID is thecenterforartinwood).

Artists in Robin Wood’s Cores Recycled: Exhibition and Fundraiser: Hayami Arakawa; Michael Bauermeister; Derek Bencomo; Garry Knox Bennett; Jérôme Blanc; Jon Brooks; Phil Brown; Zina and Sorin Burloiu; Michael de Forest; Luc Deroo; Neil Donovan; Peter Exton; Doug Finkel; Ron Fleming; Satoshi Fujinuma; Peter Harrison; Doug Haslam; Michelle Holzapfel; Richard Hooper; Beth Ireland; Michael Kehs; Max Krimmel; Simon Levy; Yoav Liberman; Robert Lyon; Gord Peteran; Michael Peterson; Hilary Pfeifer; Carl Pittman; Jeannette Rein; Gabriel Romeu; Randall Rosenthal; Jamie Russell; Joshua Salesin; Norm Sartorius; Merryll Saylan; Michael Scarborough; David Sengel; Michael Shuler; Jack Slentz; Brad Smith; Alan Stirt; Holly Tornheim; Neil Turner; Joel Urruty; Derek Weidman; Christopher Weiland; Kim Winkle; and Robin Wood.