Recent Works by Sharon Doughtie and Pat Kramer

Feature Alternate Realities Recent Works by Sharon Doughtie and Pat Kramer

Kevin Wallace

The world of contemporary art is seemingly mysterious in many n 2004, I traveled to Hawaii to curate an exhibition presented by ways. Some artists, who have yet to be discovered, are curious I Hawaii Craftsmen, a nonprofit as to why other artists have been spotlighted. They may wonder organization that provides support, opportunities, and community for about how relationships between galleries and artists are formed. artists living and working on the Hawaiian Islands. It was a wonderful The story of how Sharon Doughtie and Pat Kramer came to be experience, as it entailed traveling featured in the first exhibition dedicated to turned wood at the from island to island, hosted by the artists involved in the organization Beatrice Wood Center for the Arts explains some of this mystery. and selecting works, as well as

A view of the Beatrice Wood Center for the Arts, Happy Valley woodturner.org 33 Copyright 2009, 2016, American Association of Woodturners. All rights reserved. giving talks on the current state of benefit from being exhibited within the They had not pursued careers on the contemporary craft art. I was also larger context of contemporary art. mainland and therefore were not overex- responsible for judging the best work Those who had known me for years posed in the gallery scene or already in in each of the craft categories in the in the wood realm, who heard about the all of the major collections. Most impor- resulting exhibition. Center, often misunderstood its name tant, I recognized in them that special When it came to wood, I had diffi- and was convinced that I was Director combination of vision and quality that culty selecting first place as there were of the Beatrice Wood Center for the is the sign of truly talented artists. I was two artists, Sharon Doughtie and Pat Arts. Indeed, the field I had devoted pleased to find I’d made the right deci- Kramer, who stood out from the others. almost two decades to and the name of sion, when I began to receive images of I ultimately relied on the advice of those the artist were coincidentally the same, the work for the exhibition and, even who were involved in the organization. and I was planning on exhibiting work more so, when I began to unpack the It turned out that the two were married; by wood artists at the Center. boxes of work. Sharon and Pat had set Pat was a longtime woodworker while Sharon Doughtie and Pat Kramer were aside almost the entire year leading up Sharon was fairly new to the field. I ideal candidates for the first exhibition to the exhibition to create wonderful, ended up giving Pat first place and dedicated to turned wood at the Center. highly individual works of art. Sharon second place, had the opportunity to meet the two of them, and have followed their work ever since. Sharon Doughtie, Her Words, Her Work, 2008 In 2005, I assisted in the creation The Beatrice Wood Center for the there is room for plenty of work. Kevin of the Beatrice Wood Center for the Arts is situated on 450 acres of land. Wallace and Janat Dundas did a won- Arts, which is housed in a compound Two mountain ranges, that cross each derful job mounting our show, creat- that includes the home of legendary other, traverse it. A huge array of flora ing a flow from one piece to another. ceramic artist Beatrice Wood. Due to and fauna thrive there; plants that The Center’s permanent collection is this association with ceramic art, I felt we consider tropical nestle cheek to mostly comprised of Beatrice Wood’s we should have exhibitions that fea- jowl with desert plants. The place is fascinating pieces. A highly prolific ce- tured this medium, yet I have always buzzing with life. ramicist, she lived to be 105, producing believed that works in The display area is situated through- her largest body of work the last fifty craft media out two houses. The main years of her life. She is a true inspiration. exhibition area contains We had the good fortune to stay at large display cases the Center during our time in Ojai. We and many shelves. were privileged to stay in a room full of It evokes a feeling artwork in a house full of artwork. An of intimacy, yet open patio stretched the length of both

Sharon Doughtie, Tide Pools, Norfolk island pine, Turned, burned, pierced, and ebonized, 2" × 5" to 3¾" × 7½"

houses and we witnessed soft morning and vivid evening light as we watched the changing vista. Between the houses is a wall of bamboo with an arched doorway cut into it so, while there is a feeling of spaciousness, there is also a cozy privacy. It was deliciously restful. Sharon Doughtie, The intention that Beatrice Wood Night Surge, Norfolk island pine, set for her home and land is being Turned, burned, and ebonized, well sustained by both Janat Dundas, 3¼" × 15" Manager, and Kevin Wallace, Director. It is at once inspiring and restful, cap- tivating and serene. While I was there, I wanted to make things and just sit back and breathe in the beauty. Hoku Hele When I made this piece I was thinking of how the Polynesian people steered their vessels by the stars. This very loose Celtic knot is my version of those sky pathways. The circular stippled areas represent stars or planets. When I finished the piece, I was pleasantly surprised to see that it reminded me of the traveling canoe Hokulea, so I named the piece Hoku Hele, which means traveling star. Sharon Doughtie, Hoku Hele, Tide Pools Norfolk island pine and Honduras mahogany, Turned, carved, burned, and ebonized, I walk the beach several times a week 6" × 8½" and there is a section that is mostly rocks with almost no sand. It tends to be shady and cooler there, with many tide pools. This piece is about the water Pat Kramer, His Words, His Work, 2008 swirling through those temporary pools. Night Blooming Serious It desperately wanted to be pretty, Night Surge This piece is part of a series of natural- but dangerous. I followed this thread, This piece is a Celtic knot wave form edged endgrain turnings. The intent carving and refining the shape and done in a Japanese woodcut print style. with this particular piece was to start lines, and cutting and burning tex- I love to take night walks on the beach. by finishing the rough turning and tures to add to the emotional context I Waves are revealed as vague shadows see what sort of mood would surface. was trying to maintain. It may sound under the moon. This piece references I tend to think of Norfolk pine as a like I’m talking more about personal- the transition of a wave as it arcs and wood that paints a picture rather than ity than mood, and I suppose that builds energy. There is a brief calm as as a material that has its strengths in might be true. A lot of my pieces end the water is suspended for a moment, displaying the figure of its grain. The up being critter-like. I think most just before tipping toward the shore interplay of the shape of the piece, pieces that are created inherit some and crashing on the beach. Many times with the knots contained within, sort of persona. I hear the rush before I can see the creates a geometric design that sets the First Flight surge splashing up through the dark- look and feel for the piece. I intended this piece to be tactile. It is ness, barely visible under the stars. It seemed obvious that this was a a two-hander, meaning that it is some- —Sharon piece with a full figure and nice lines.

woodturner.org 35 Copyright 2009, 2016, American Association of Woodturners. All rights reserved. Pat Kramer, Night Blooming Serious, Turned, carved, burned, and ebonized, Norfolk island pine, 5" × 15½"

thing that can knots give an edginess that is be held and cradled softer than you would find in ceram- using both hands. I had a wonderful ics, yet they are warmer to the touch piece of Cook pine with satiny ribbons and also retain the tactile quality that and lots of colors running through the we love in wood. wood. I thought it needed to become —Pat something that wanted to be picked up and held, like when I find an egg- Kevin Wallace is Director of the Beatrice Pat Kramer, First Flight, shell that has fallen to the ground Wood Center for the Arts, Ojai, California. Cook island pine, after the young birds have left the Sharon Doughtie (sharondoughtie.com) Turned and carved, nest. I decided to turn the familiar egg and Pat Kramer (patkramer.net) share a Stand is carved, textured, and ebonized, studio on the Island of Oahu. 14½" × 13" shape and carve in some organic rip- pling. Distinct markings separated the sapwood and heartwood. I took the opportunity to carve a soft undulating rim that followed the sapwood to have something nice to feel when the piece was picked up. The low stand makes the piece approachable. It is intention- ally organic and nonobtrusive and invites the viewer to pick the piece up and hold it. Ten This piece is my interpretation of Santa Clara pottery done in wood. I wanted the finish to have a gunmetal look and the form of the piece to have some of the elements of pottery. I also wanted to remind the viewer that this is wood crossing the boundary between the two mediums. The ten knots protruding from the piece draw Pat Kramer, Ten, attention to the fact that this is wood. Norfolk island pine, I like that the shape is obviously Turned, carved, not typical for Santa Clara pottery, burned, and ebonized, yet it still has some of the feel. The 13½" × 16"