Mark Lindquist | Fluted Vessel, ...
Mark Lindquist

born 1949
Resides in Quincy, Florida

Biography Statement

Mark Lindquist was introduced to woodworking by his father, Melvin, who taught him the secrets of "spalted" wood.


And we carried these pieces back to the camp, and he started working with them, and it was so incredible, the black lines, which is now called spalting, that we sort have been using it ever since, and it's become popularized nationwide.

Mark's work is in the collection of the American Craft Museum, The Arrowmont School of Arts and Crafts, the High Museum of Art, in Atlanta and the Metropolitan Museum of Art.



Wood to me is a very special material because it has a warmth and a life all of its own. It does not do what we want it to, it does what it wants to do for the most part if we're honest about what it really is.

I am and have been from the beginning of my association with wood concerned about personal expression and growth. Through my involvement with wood and wood turning, I have learned and continue to seek new understnadings about myself and about life.

Conceptually, within the frame of reference of fine art (and within a very specifically defined vision, gained through an apprenticeship to a potter and studies with a sculptor), it became my intention to translate ancient ceramic form and sculptural ideology into the medium of wood through the technology of wood turning. I did not then (the late 1960s) care for the time-honored traditions of the craft, and I do not now care about the taboos of the purists. As in any art form, it becomes a duty of those deeply committed to their own visions to be responsible to the "seen unseenness" of the goals that lie immanently beyond current horizons.

Perhaps it has been the stigmas of the traditional field of wood turning that have been so challenging and rewarding throughout the pursuit of these truths. Anyone who challenges the accepted norms or standards by offering new alternatives does so with objects that draw attention away to things already existing that have simply been unperceived. The only way a standard can become one is to make the existing one obsolete, becoming thereby merely a current accepted solution to the problem of circumscribing another seeming finality.


I'm really kind of a Don Quixote in many ways, tilting at windmills. I think it's because people have said that the vessel cannot become sculpture, that I've become very interested in it. In the past, I think, in working with the wood and the material, I was making bowls within the context of the wood and my understand of the wood. But now I'm attempting to make sculpture within the confines of the bowl, and that is the point at which I have arrived at making my own statement about sculpture.

David W. Levi Melvin Lindquist