Now that the selections for the Bridging the Gap competition have been published, I'm wondering what everyone's 1st reaction to the selections are.
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Congratulations to Rick Moreton, People's Choice in the July 2025 Turning Challenge (click here for details) -
Congratulations to Michael Foster for "Costa II" being selected as Turning of the Week for July 28th, 2025 (click here for details) -
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Bridging the gap
- Thread starter egsiegel
- Start date
Odie
Panning for Montana gold, with Betsy, the mule!
Here they are:
My reaction is.....
Only a few are truly examples of the art of woodturning. The remainder are examples of other residual skills. Incredible, as they are, the impact isn't woodturning, but rather what can be done with a turned object subsequent to the lathe work. This is not to devalue in any way, the outstanding skills and imagination necessary to accomplish such works of art.
All of them can, and should be admired with that perspective in mind....which means that some may need to be viewed with a different set of applied values.
I know I'm not making any friends with my statement here, but you asked, and that's my thoughts......
-----odie-----
My reaction is.....
Only a few are truly examples of the art of woodturning. The remainder are examples of other residual skills. Incredible, as they are, the impact isn't woodturning, but rather what can be done with a turned object subsequent to the lathe work. This is not to devalue in any way, the outstanding skills and imagination necessary to accomplish such works of art.
All of them can, and should be admired with that perspective in mind....which means that some may need to be viewed with a different set of applied values.
I know I'm not making any friends with my statement here, but you asked, and that's my thoughts......
-----odie-----
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I wish I could see these in person or at least a larger image of each. Ya, I know, I should quit being such a tightwad and just renew my membership.
But in each of these pieces I see exemplary skills at turning wood. Equal skills? Maybe, Maybe not. We'll hopefully all always have our own point of view. But each began as a turned wood canvas for the artist to express their vision. Each required the ability of a skilled woodturner. I've dabbled in a bit of artistic embellishment in my own turnings and from a personal point of view I find it incredibly difficult to turn what I would consider a very nice piece and then start cutting, carving, burning, painting or whatever knowing that in all likelihood I'll probably destroy it. This display represents the best efforts of many great turners that have submitted their work for this competition. Imagine all the incredible work that was submitted but wasn't selected. Then think of all the pieces that are in the trash, stuck on a shelf, or in the wood stove but served as stepping stones to get to this point. I think there's a mind boggling amount of skill both in art and craft represented in this exhibit.
But in each of these pieces I see exemplary skills at turning wood. Equal skills? Maybe, Maybe not. We'll hopefully all always have our own point of view. But each began as a turned wood canvas for the artist to express their vision. Each required the ability of a skilled woodturner. I've dabbled in a bit of artistic embellishment in my own turnings and from a personal point of view I find it incredibly difficult to turn what I would consider a very nice piece and then start cutting, carving, burning, painting or whatever knowing that in all likelihood I'll probably destroy it. This display represents the best efforts of many great turners that have submitted their work for this competition. Imagine all the incredible work that was submitted but wasn't selected. Then think of all the pieces that are in the trash, stuck on a shelf, or in the wood stove but served as stepping stones to get to this point. I think there's a mind boggling amount of skill both in art and craft represented in this exhibit.
Full disclosure: I submitted an entry with zero expectations of winning.
All of the pieces selected are beautiful, quality work. All of the pieces selected are by true artists.
I question, and am disappointed that I don't see how manynof these pieces fit the theme of "Bridging the Gap". Some look like bowls or embellished hollowforms that we see all time (excellent versions of them)...but nothing "conceptually" new to support the theme.
Maybe I am missing something. Maybe I need the artist's statements....but that is my initial reaction.
All of the pieces selected are beautiful, quality work. All of the pieces selected are by true artists.
I question, and am disappointed that I don't see how manynof these pieces fit the theme of "Bridging the Gap". Some look like bowls or embellished hollowforms that we see all time (excellent versions of them)...but nothing "conceptually" new to support the theme.
Maybe I am missing something. Maybe I need the artist's statements....but that is my initial reaction.
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I agree with Odie, completely - SO many of those pretty items are just - well - ... not turning. When something can be done entirely on a lathe with lathe tools, that's great, but so many others are examples of just carving (you could carve some of them on a CNC without ever using a lathe) While the artistic forms are nice, admirable even, just too many of them look like work that has seen very little if any time on a lathe - Some of them not much more than "chuck it up and turn it round" and then the rest of it is all carving, CNC, etc. I just don't really see them as "turning wood". As an artistic piece, sure they are great, but as an actual skill of turning them on a lathe, there isn't all that much to them, IMHO.
Tom Gall
TOTW Team
I think special congratulations are in order to Mark Jundanian and Donna Banfield. They frequently contribute to our "Discussion" Forum - sorry if I missed anyone else. There are 7 or 8 others that post photos to our Gallery but don't usually participate in discussions. Congrats to all.
Tom Gall
TOTW Team
The theme was "Bridging the Gap". Kind of difficult to follow the theme with a well turned bowl .... unless you put a bridge across the rim!
However, I think Dave Landers' bowl with the connecting pewa would have fit the theme perfectly ... but he probably would have to "dress" it up a little. 
But, I can see the point that some of you have made. Some questionable selections as how it relates to the 'theme'.
I guess its kind of like getting juried into an Arts & Crafts show - depends on the jurors preferences. Different jurors - different outcomes.
Did you put pics of it in your gallery? Would love to see what you made.
I totally agree. Some times I think these exhibitions are more about how well your known rather then how well your vision fit the topic.
Yes I did...but here it is again
Attachments
It does seem that way sometimes
Rejection can be hard. Eventually, you get used to it. Trying to make sense as to why I got rejected did not accomplish anything as there is no rime or reason. Ed, I love the carving on your piece. Outstanding work. But the design of the piece, you started with a bowl with no design, big flat bottom, and straight-up walls.
Emiliano....this piece was turned specifically for this design....the double walls to allow the 4 layers of depth when viewing.
I handle "rejection", or not winning well...I was not surprised or upset by not being selected.
As I said....I'm trying to understand how somebody these pieces fit the theme.
Wish we could see a short writeup from each artist that could describe there vision for us common folk. This is just my opinion but when well known and established artist enter a design there very well known for making does that truly make it a blind jury? In my limited years of being interested/fascinated in the art side of turning I can look at that picture without a list of names and point out some of them. This is not a knock against any artist as they all do amazing work. I would just enjoy getting a glimpse into there vision to gain some knowledge to advance my artist side.
Russ Braun
TOTW Team
Perhaps “Bridging the Gap” refers to taking something simple, straight off the lathe, and embellishing it into these fabulous pieces! I can recall enjoying many of them in the gallery including egsiegel’s piece!
Odie’s “woodturning” comment has always lurked in the background of the woodturning world but what we are actually seeing is Woodturners outside the box, unleashed!!
I got into segmenting because I got a touch bored with chunk turning. We segmenters suffer a little bit of this sigma as well.
It’s the age old traditionalists vs people who take tradition to somewhere else!
I find it exciting and I’m eager for more!!
Odie’s “woodturning” comment has always lurked in the background of the woodturning world but what we are actually seeing is Woodturners outside the box, unleashed!!
I got into segmenting because I got a touch bored with chunk turning. We segmenters suffer a little bit of this sigma as well.
It’s the age old traditionalists vs people who take tradition to somewhere else!
I find it exciting and I’m eager for more!!
One member of our club who doesn't turn much any more, if he had made a piece for this, he would have had a bridge going from one side of the bowl to the other. I just don't care for the 'fancy' stuff. Plain and simple always worked best for me.... I was watching Mike Mahoney turn one of his signature type walnut platters at the AAW Symposium in Portland some 15 years ago, and as he was turning the inside, he put that little bead on the inside and was commenting about how the bead draws the eye into the inside of the form. I was thinking, you have a nice smooth flowing form going into the inside of the bowl and you put a speed bump on it..... I don't look at things the way most do....
robo hippy
robo hippy
Woodturning has forgotten, or ignores, much of its heritage, ideas which could enrich current turning. Note that many of the pieces accepted take a 'bowl' as the starting point. Hollow forms and plates make up much of the rest. Spindles have almost been reduced to an afterthought in turning. Pens and utilitarian items such as rolling pins seem to be the current conception of “what to make with spindles” – see the challenge a couple months ago. Spindles once played a much greater role. More can be done with them than the current situation reflects. Although a Windsor chair may not be high art, a well-designed one can be truly elegant. In the past spindles could be ubiquitous in households and public buildings, used in vast numbers in a multitude of ways, such as huge geometric lattice screens, not just as balusters. Likewise multiaxis offers a huge scope. Derek Weidman, for example, for sculptural work on the lathe, but compare the elegant apparent simplicity of Barbara Dill's work (most turned in spindle orientation).
I suspect appeal to the jurors may have been at least as important as obvious connection to the ‘bridging the gap’ phrase. And -- look at the call for entries – the wording essentially said that “anything goes”.
I suspect appeal to the jurors may have been at least as important as obvious connection to the ‘bridging the gap’ phrase. And -- look at the call for entries – the wording essentially said that “anything goes”.
john lucas
AAW Forum Expert
I love the work. Ita all extraordinary. And all turned to some degree ir another. My question is do you see "bridging the gap" in any if them. Are the judges given this title as part of the criteria. I did enter a piece. Dont have a problem with not being accepted. When you have 120 entries your odds are less than 50/50. I understand and have not made the cut before. I have seen many pieces over the years that get into the show that dont seem to have the slightest hint of the theme of the show. So it makes me wonder what criteria the judges recieve.
Good point
John, we are in exactly the same boat, and have the exact same observation.
Over 100 entries and just over 20 taken, so your odds were about 1 in 5.
The wording from the call for entries -- which seems potentially to include almost anything
"The theme for the 2022 Symposium AAW member show is Bridging the Gap: The Craft and Art of Turning. The themes for the annual member show traditionally draw from the host city or state, and Chattanooga is a city of many bridges. The year’s theme also refers to the continuum of work being created by our members, from primarily functional to completely sculptural, and all points in between.As always, the theme is open to many interpretations, whether your motivation is metaphor, material, techniques, or just the pleasure of turning!"
I had thought about submitting something -- wrote an "artist's statement"-- but decided not to do so.
The wording from the call for entries -- which seems potentially to include almost anything
"The theme for the 2022 Symposium AAW member show is Bridging the Gap: The Craft and Art of Turning. The themes for the annual member show traditionally draw from the host city or state, and Chattanooga is a city of many bridges. The year’s theme also refers to the continuum of work being created by our members, from primarily functional to completely sculptural, and all points in between.As always, the theme is open to many interpretations, whether your motivation is metaphor, material, techniques, or just the pleasure of turning!"
I had thought about submitting something -- wrote an "artist's statement"-- but decided not to do so.
I pick up 2 themes herein: 1) does the piece fit the theme, and the subjectiveness of the selection/winner, and 2) sculpture with some amount of turning vs all or mostly turnied.
1) I too struggle with the connection to the theme and the subjective aspects of the art world. Cant offer input - I need more help in this area.
2) while I have a huge amount of respect for the artists who produce sculptural and/or highly embellished “turned” art, I dont have a lot of interest in it (from a turning perspective) when the turning portion is limited, such as just a basic form which then becomes the “canvas” of the work and the turning portion has about as much to do with the finished piece as canvas does for a painting.
My opinion is the AAW strives to bring as much under their “umbrella” as possible, and as long as even a little bit of turning is involved, they want to be associated with in the hopes of spreading the brand and membership. The turning focus gets diluted, but from an organizational perspective (goals) it doesnt matter, and its probably an accurate direction to take.
1) I too struggle with the connection to the theme and the subjective aspects of the art world. Cant offer input - I need more help in this area.
2) while I have a huge amount of respect for the artists who produce sculptural and/or highly embellished “turned” art, I dont have a lot of interest in it (from a turning perspective) when the turning portion is limited, such as just a basic form which then becomes the “canvas” of the work and the turning portion has about as much to do with the finished piece as canvas does for a painting.
My opinion is the AAW strives to bring as much under their “umbrella” as possible, and as long as even a little bit of turning is involved, they want to be associated with in the hopes of spreading the brand and membership. The turning focus gets diluted, but from an organizational perspective (goals) it doesnt matter, and its probably an accurate direction to take.
john lucas
AAW Forum Expert
I see the need to bring turning up to the level of what is considered "art". It benefits everyone in the turning world by bringing prices up and opening new venues. If you look at the 20 pieces there is a very beautiful bowl and of course John Jordan's vessel that does have carving and texture it is a beautifully shaped hollow form. Not sure how either of those has says bridge the gap but you certainly cant deny that they are well done and deserve to be in a national show. Why dont we just call it the annual Annual AAW show and do away with the whole theme thing since they dont psy attention to it anyway.
John, we are in exactly the same boat, and have the exact same observation.
I whole heartedly agree
Odie
Panning for Montana gold, with Betsy, the mule!
You know, Russ......I can understand your reasoning here. Those who do rudimentary turning, and make something fabulous out of it, using an unlimited input of what is available to artisans, probably think similarly. Certainly, I absolutely agree with all of their thinking on this. All I'm trying to do is point out a distinction that seems to be lost in the shuffle.
This is another way to look at it.......
It a world of art, many of the entries in the "bridging the gap" competition would be well suited in a "artistic sculpture" category.......while, many finely executed, but strictly lathe turned objects would be rejected for any category, other than "lathe turned objects". Just because the baseline may be created on a lathe, what happens afterward is an entirely separate world which tends to exclude well executed lathe turnings.
This is the American Association of Woodturners.....is it not? To my way of thinking, nicely executed lathe turnings should have played a bigger part of the BTG competition, for that very reason. This doesn't mean it should exclude all the other residual artistic efforts the finalists have contributed either...
I suppose I must state again, that I have great admiration for whatever is done off the lathe, as long as it is done well. Those entries in the BTG competition are worthy of admiration...every single one of them!
-----odie-----
AbsolutelyThose entries in the BTG competition are worthy of admiration...every single one of them!
-----odie-----
Russ Braun
TOTW Team
It’s certainly hard to argue the point that finely turned unembellished wood turnings seem to be in the minority in this BTG collection Odie. After all, we are the AAW and you are spot on with that assessment! You are also spoton that there is some fabulous work in this group!! I’m looking forward to seeing them in person!!You know, Russ......I can understand your reasoning here. Those who do rudimentary turning, and make something fabulous out of it, using an unlimited input of what is available to artisans, probably think similarly. Certainly, I absolutely agree with all of their thinking on this. All I'm trying to do is point out a distinction that seems to be lost in the shuffle.
This is another way to look at it.......
It a world of art, many of the entries in the "bridging the gap" competition would be well suited in a "artistic sculpture" category.......while, many finely executed, but strictly lathe turned objects would be rejected for any category, other than "lathe turned objects". Just because the baseline may be created on a lathe, what happens afterward is an entirely separate world which tends to exclude well executed lathe turnings.
This is the American Association of Woodturners.....is it not? To my way of thinking, nicely executed lathe turnings should have played a bigger part of the BTG competition, for that very reason. This doesn't mean it should exclude all the other residual artistic efforts the finalists have contributed either...
I suppose I must state again, that I have great admiration for whatever is done off the lathe, as long as it is done well. Those entries in the BTG competition are worthy of admiration...every single one of them!
-----odie-----
It's difficult to make judgements on the selected pieces without seeing them in person. Even the quality of the photography could make a difference in choices.
Are they art or craft? I found this online: "Art relies on artistic merit whereas craft is based on learned skills and technique." I see lots of talented craft work in the selections. I don't see anything particularly innovative or thought provoking. But, again, I'm making judgements from only seeing tiny pictures.
Should woodturners judge woodturnings? Are woodturners biased toward pieces that required extensive learned skills and techniques? Take hollow forms for instance, usually ball shaped, not especially interesting (IMO) by themselves. They do seem to get a lot of attention from turners possibly because they understand the difficulty of the hollowing process.
Are they art or craft? I found this online: "Art relies on artistic merit whereas craft is based on learned skills and technique." I see lots of talented craft work in the selections. I don't see anything particularly innovative or thought provoking. But, again, I'm making judgements from only seeing tiny pictures.
Should woodturners judge woodturnings? Are woodturners biased toward pieces that required extensive learned skills and techniques? Take hollow forms for instance, usually ball shaped, not especially interesting (IMO) by themselves. They do seem to get a lot of attention from turners possibly because they understand the difficulty of the hollowing process.
Tom Gall
TOTW Team
In the past decade or so our club has had a few critique session meetings....usually critiqued by woodturners. A while back we brought in some non-woodturning professionals - a custom furniture maker, a potter, and a gallery owner. Their comments brought to the table things we don't usually hear or maybe don't think about. Very enlightening!
remember....the pieces were judged and selected based only on these photos (3 Pics for each piect)
There have been some interesting comments around "woodturning" vs "turned then embellished".
I often attend symposiums and view the galleries and wonder "how was that ever on a lathe" or "couldn't that be done without a lathe". I agree the the American Associate of Woodturners sometimes move a little far from woodturning...and maybe should consider reorganizing as the American Association of Woodworkers. There could be many advantages to that to our members as well as vendors.....but that is a totally different discussion.
In the case of Bridging the Gap, I would expect to see a variety of techniques and embellishments....it was right there in the criteria statement for the contest.
In fact, in this case I look at the few pieces that WERE selected that DON'T have that kind of "off-lathe" work done and raise my initial question.
I often attend symposiums and view the galleries and wonder "how was that ever on a lathe" or "couldn't that be done without a lathe". I agree the the American Associate of Woodturners sometimes move a little far from woodturning...and maybe should consider reorganizing as the American Association of Woodworkers. There could be many advantages to that to our members as well as vendors.....but that is a totally different discussion.
In the case of Bridging the Gap, I would expect to see a variety of techniques and embellishments....it was right there in the criteria statement for the contest.
In fact, in this case I look at the few pieces that WERE selected that DON'T have that kind of "off-lathe" work done and raise my initial question.
First, I am pretty sure that are several "invited" turners that are asked to submit a piece, and I expect they are included in the exhibit without any judging. Second, I think that the artist's statement goes into how the artist interprets the theme. In past issues of American Woodturner, the winning entries are accompanied by at least excerpts of their statements. You can see how far they can stretch to get it to fit. A fine example is Kalia Kliban, with a very nice lidded box she posted in the Gallery (on March 1) as well as submitted to the POP show with the theme "The Space Between." She included her artist's statement in her post to the Gallery. Now I can conceive that I could make a box and embellish it similarly to Kalia (I perhaps flatter myself, since it is a very nice piece), but not in a thousand years could I have created her statement.
Donna Banfield
TOTW Team
While there are Exhibitions that include invited artists, Bridging the Gap was entirely juried. Three jurors saw only the photos and artist statement. They were a Woodturner from Ireland, a collector from the UK, and an artist/professor in woodworking from the US.