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Art Liestman

Growing up in Kansas and Arizona, I obtained my bachelors degree at the University of Kansas and both my M.Sc. and Ph.D. at the University of Illinois. I moved to British Columbia in 1981, to pursue my academic career as a faculty member at Simon Fraser University. I am currently a Professor in the School of Computing Science at SFU. My duties include undergraduate and graduate teaching, research, and administrative tasks. My research is in theoretical computing science, focusing on the interaction between network structure and communication problems.

I currently reside in Coquitlam, BC with my wife Jan, two stepsons, and two Siamese cats.

I have always been passionate about music in spite of having a mother and grandmother who were piano teachers. My musical interests are quite varied and I have studied and performed on several instruments over the years. So, it is natural that I came to woodturning from music.

If you ignore a regrettable junior high school shop class, my woodworking career began during my graduate student years when I decided to make an amadinda - a large xylophone from Uganda. Constructing the instrument in the living room of my apartment with very few hand tools proved challenging (and hard on the carpets). I continued to make instruments, focusing on experimental percussion devices inspired by African, Indian, or Indonesian instruments or by composer/inventors such as Harry Partch. I used whatever materials seemed appropriate, including wood, plastics, and some metal.

After moving to British Columbia, I continued to explore music and musical instruments and eventually was able to establish a shop in my home. Several years later, I joined a local woodworking club (the Pacific Woodworkers Guild) and began to participate in their annual 2x4 contest. The idea of the contest is to make something using only an 8' long 2x4 (of any variety of wood), glue, and finishing products. The constraints of this contest force the participants to think creatively. My entries have generally been musical instruments. One year, I decided to make a programmable automated xylophone. To complete the instrument, I realized that it would be helpful to have some turned parts. After consulting with my brother (who makes bagpipes), I obtained my first lathe and learned just enough about turning to make the parts. The instrument ("Hunka hunka churnin' wood") was a big hit, winning the contest that year and generating a surprising amount of media coverage.

Soon, I did some more turning and eventually began to see myself primarily as a woodturner, rather than a woodworker. I learned more about turning, concentrating on bowls and small functional items. I began to consider the possibility of making more artistic work after seeing an inspiring demonstration by Frank Sudol. An Educational Opportunity Grant from the AAW allowed me to study with Jacques Vesery. That was a pivotal experience, beginning the search for my own voice and continuing to affect my work today.

The need for more exposure to woodturners from outside our area was a major motivation for founding the Greater Vancouver Woodturners Guild (an AAW chapter) in 1999. Our club has been highly successful and I have benefited greatly from the exposure to our visiting woodturners.

I am currently exploring various surface enhancements on hollow forms and other turned objects. Most of these enhancements involve subdividing the surface into regions. A major focus is my series of puzzling illusion pieces that appear to be jigsaw puzzles. Another series, inspired by the paintings of Mondrian and Klee, has surfaces broken into regions that are individually colored first with alcohol-based dyes and then sprayed with thinned black acrylic ink. The Sherlock Holmes story "The Adventure of the Dancing Men" provided a substitution code that allows me to encode messages on the surface of my '"dancing men" pieces. A series called "burning fields" features surfaces subdivided into irregular and highly textured regions. A recent development is the "vox" - a box that appears to be a hollow vessel when it is closed.

I turn on a Stubby 750 using a variety of tools. For hollowing, I am an advocate of the constrained handle systems. I do all of my hollowing with a Jamieson handle and various cutters including those made by Jamieson and by Kelton. I use many different tools for carving including rotary and reciprocating carvers, high-speed dental type tools, and pyrography tools. For coloring, I use acrylics and various dyes.

You can see more of my work at www.artliestman.com and at various galleries including del Mano (Los Angeles), Northwest Fine Woodworking (Seattle), Crafthouse (Vancouver), Gallery Xylos (Calgary), the Guild Shop (Toronto), and guild.com (cyberspace). One of my voxes will be included in the "Put a Lid On It" exhibition.

 

 
Art Liestman
   
  The above is "Vox" made of big leaf maple and ebony, 3 1/2" tall (when closed) x 3 1/2" diameter with two vessels from the Mondrian/Klee series. Vox Populi
big leaf maple
4 1/2" tall by 3 1/2" diameter (when closed)
 
   
  Vox Populi
open view
"Out of the Box"
17" diameter by 1 1/2" deep
big leaf maple
The first puzzling illusion piece that is not a vessel.
 
   
  "Green Wave".
big leaf maple and ebony
4 3/4" tall by 4 1/4" diameter
"Hunter's Tale".
big leaf maple and ebony
5 1/2" tall by 4 1/4" diameter
 
   
  "Jigs Up"
big leaf maple and ebony
4 1/4" tall and 3 1/4" in diameter
a puzzling illusion vessel with a lid
"Bite The Wax Tadpole"
big leaf maple and ebony
7 1/2" tall by 4 1/2" diameter
The words encoded are "Bite the wax tadpole". This phrase is supposedly a translation of "Coca-Cola" into Chinese and back.
 
   
  "Dances with Lathes"
big leaf maple and ebony
4" tall by 2 1/4" diameter.
The words encoded are "Dances with Lathes"
"Beautiful and Fierce",
big leaf maple and ebony
8" tall by 5" diameter
The words encoded are "Beautiful and Fierce"
 
  "Woodstock"
big leaf maple burl and ebony
5" tall by 3 1/2" diameter
"Overcast"
big leaf maple burl and ebony
6 1/4" tall by 3 3/4" diameter.
 
   
  "Tyke"
big leaf maple burl and ebony
4" tall by 2 3/4" in diameter
"Sentinel"
big leaf maple and ebony
5 3/4" tall by 4 1/2" diameter
Sentinel is one of several pieces in this series with pierced walls.
 
   
  Burning Fields Series 4
big leaf maple and bloodwood
3 3/4" tall by 3 1/2" diameter
"Burning Fields series 5"
big leaf maple and ebony
3" diameter by 3" tall
 
   
   
   
 

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