Bill Luce Woodturner


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This first section is some examples of bowls with no coloring or texturing other than simple grooves or  a colored rim.  In many ways this "classic" style of bowl is my favorite as it such an honest and unforgiving style.  Since the bowl has no additional distracting elements other than the wood itself, there is nothing to hide behind in the way of any weakness in design or execution.

A simple statement in Madrone.  This bowl exemplifies my test of a good bowl - fellow woodturner and good friend Bonnie Klein one day saw this bowl in my studio among many  other bowls, and at once proclaimed "this one's mine."  She picked it up and simply would not put it down. This explains the title and also the collection where it resides.   If I had to choose a single bowl to speak for me when I've gone, this might be that bowl.



This Madrone bowl incorporates the same basic features as the above bowl without the distraction of the burl wood. 




An early example of using the orientation of the bowl in the tree to place the light colored sapwood at the rim and have growth lines that emphasize the waist of the bowl to strengthen the overall statement.




The following bowls are part of an ongoing exploration of the relationship between visible wood grain and the overall impact of certain forms utilizing solid color to emphasize texture. My primary focus is this exploration of form; the surface manipulations are merely vehicles to further study variations in these forms.


 Naked. The title refers to the way in which this piece suggests to me the human vulnerability that goes along with exposing our soul bare with no pretense or self protecting defenses.  Part of the power of this piece is the subtle variations in the color of the wood, along with the white wavy grain lines.  Glassbeaded and bleached ash.



Elm bowl with  slightly roughened grain lines by sandblasting, then dyed a matte black to accentuate those lines.  The orientation of the bowl in the tree and thus the orientation and spacing of the grain lines in the bowl is critical to the power of the piece.



This curly Big Leaf Maple piece has been highly bleached. Notice the textured rim due to the rippled surface of the tree.  This surface is the outside edge of the tree immediately under the bark.



The grain in this elm piece has been lightly burned with a micro-torch to only slightly enhance the pattern of the grain, and the bowl was then dyed. Due to the relatively subtle grain , the wide growth ring spacing, and the delicate nature of the bowl itself, the overall effect is of quiet elegance. The groove near the rim works on this piece because of this subtle grain. The full and rounded lower curve here along with the straightening sides (and the subsequent openness of the form) complete the statement.


This bowl has been sandblasted and then dyed, natural edge and all.




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