Kim’s transformation from a novice at an evening class to a master woodturner is nothing short of remarkable. Discover the story behind his stunning creations and the passion that fuels his craft!
How did your artistic journey begin?
My journey began back in 1979 when I took an evening class. The instructor saw potential in me, telling me to "go and buy a lathe." It wasn’t until 35 years later that a lathe arrived on a sleigh, courtesy of my wife, Maggie. Six months after that, I upgraded to a much larger lathe, the price of which remains a mystery. That marked the beginning of my third career, initially alongside my paid job in bookkeeping.
How long have you been creating?
I’ve been turning wood into art for 10 years now.
Did you pursue any specific courses or qualifications?
Apart from that evening class in 1979, I’m completely self-taught in woodturning.
What has your creative journey been like so far?
My first career involved creating a plant nursery and garden, but that came to an end after the foot and mouth outbreak affected many small businesses. I then turned to bookkeeping, where I like to think I was creative in my own way. While working in accounts, I started woodturning and joined the Herefordshire Guild of Craftsmen, participating in many shows and national art fairs.
Eight years ago, I had a stroke, which initially left me unable to walk or talk. I thought my days of creating were over. About six months after the stroke, I attempted to turn wood on the lathe again, but the tools and wood went flying everywhere. After a calming coffee, I wondered whether I should continue, given the risks, but realised that before the stroke, I faced the same dangers working alone. So, I went back to my shed and continued making shavings.
Today, most people can’t tell that I’m a stroke survivor. I attribute much of my recovery to sheer willpower and the desire to create the perfect bowl. The journey has had its ups and downs, but it’s always progressing.
Where do you draw inspiration from?
My ideas often come from the wood itself, pottery shapes, forms and surfaces, and the work of other turners, notably Richard Raffan. Sometimes, they’re subconscious memories of pieces I’ve seen.
What's your preferred medium?
I work with a wide variety of native and foreign woods, so it’s difficult to pick a favourite. My evasive answer would be the wood currently on my lathe, which at the moment is a piece of Jarrah burr.
What's your favourite subject to represent?
The wood itself. My goal is to produce pieces that display the grain of the wood in the best possible way.
Where do you work?
In my man shed, which has little ventilation, lots of cobwebs, and plenty of pieces of wood waiting to be given a new life.
Have there been any significant turning points in your work or career?
One significant moment was at a show in Harrogate about six years ago. A famous gallery owner walked by, stopped, picked up one of my bowls, and said, "I haven’t felt a bowl like this since I first sold Richard Raffan's work." That comment made me realise I had something special. He went on to buy and sell many pieces and even commissioned some work.
Becoming a founding member of The Artists' Gallery was another turning point. It’s been an amazing journey to be part of this gallery family.
Recently, I’ve also become more aware of the beauty of wood from the humble ash tree, a material I had previously ignored. Turning points just keep coming.
Any highlights or disasters?
I remember having a huge oak burr on the lathe, held on with a faceplate and six large screws. As I reached to secure the tailstock, my arm accidentally hit the start button, and the lathe, set to 2000 RPM, started walking across the shed before the burr spun off. It flew over my head and landed behind me, bending all six screws. Since then, I’ve always set the lathe speed to zero after every piece.
Do you listen to anything while you work?
I always listen to the lathe first – it’s the first sign of something going wrong. When I’m not wearing my air flow face shield, I enjoy listening to JJ Cale, Eric Clapton, Cajun, electric folk, blues music, and Rhiannon Giddens.
When do you prefer to work?
I work whenever I can. Semi-retirement keeps me busy, and I often wonder how I found time for work and family before discovering this creative journey.
Do you have a daily routine?
Yes, I get up, ask Maggie what’s happening today, and get on with it.
What would your ideal creative day be?
My ideal day would start with breakfast, a dog walk, and then selecting the next piece of wood to create a masterpiece. I’d do a bit of gardening and spend time with family. I don’t create every day; I have to feel like creating. Without that creative drive, my pieces don’t sing. A structured day rarely results in a piece that I’m happy with.
What's in your mug when you're working?
Coffee, tea, or wine (with the lathe off, of course).
Do you have a favourite snack?
Custard creams.
Where can we find more of your work?
You can find my work at joint exhibitions locally throughout the year.
Is there anything else you'd like to share?
I love making shavings. Some days, when the wood is right and the tools are sharp, the finished piece ends up smaller as the shavings fly off the wood.
I think that you'll agree, Kim's dedication to his craft, even in the face of significant challenges, is a testament to the power of creativity and passion. Visit the Artists' Gallery to see more of his stunning work and witness the beauty of wood brought to life.
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