Edward Moulthrop | Rare Ashleaf Maple Spheroid
|Biography Statement Ask the Artist How To|
Ed Moulthrop's bowls are found in the collections of the Metropolitan Museum of Art and the Museum of Modern Art--both in New York City. He was raised in Cleveland, Ohio; he studied architecture in Princeton; and he came to Atlanta to teach architecture at Georgia Tech from 1941 to 1949.
Moulthrop's artistry is documented in the book Craft Today: Poetry of the Physical, prepared by the American Craft Museum and published by Weidenfeld and Nicholson in 1986.
Wood is the most exquisite of all materials. One can sense that nature herself has created fantastic visual and sensual beauty in wood. The exciting quest is to reveal this beauty hidden in the wood, and to attempt to discover those utterly simple shapes or forms which will display this beauty without distracting from it and without imposing conflicting shapes or designs upon the beauty which is already there.
It can be said that each bowl already exists in the trunk of the tree, and one's job is simply to uncover it and somehow chip away the excess wood, much as you would chip away the surrounding stone to uncover a perfect fossil entombed in the stone. Thus not only simple shapes, but a search for a crystal clear finish, or special polishings, can be aimed at best revealing the myriad complexities, the subtle or exotic range of colors, and the etching-like patterns of growth rings which nature has placed there in this amazing block of almost homogeneous material which has grown miraculously as a living material.
These feelings guide me as I work with wood. The lathe and tools, important but not an end in themselves, become a means of expressing the special quality that is "wood."
Where do you get the ideas for your work?
Do you work alone on your craft, or with others?
Do you ever teach, or take on apprentices?
What's the most exciting part of creating your works?
What's the most difficult part of creating your works?
What sort of technology do you use in your work? Has the technology of your craft changed dramatically over the past 100 years?
Do you have any advice for somebody just starting out?
What are we missing by experiencing your work through the Internet and not seeing/hearing/feeling/smelling/touching it in person?
VIDEO (1.8 MB)
When you cut a piece of log and cut across the tree, you can see in the hand grain the patterns and the colors and you can know that you're going to be working with, so you know that you have a piece of colorful, contrasty, or very black or very yellow.
|Joan Mondale||Philip Moulthrop|