Raymond Overman

Artist Statement

In the past six years I have worked with wood as a pastime to bring my visions into reality. As I have developed my understanding of the technique and craftsmanship of woodturning, I found myself moving from a “let the tree tell me what it wants to be,” attitude to me controlling the process and reading the material to determine if it will fit my vision. I’ve learned enhancement techniques and experimented with classic forms, textures, naturally occurring negative space, colors, and design fundamentals so that I can include them in my work.

The primary medium I use is reclaimed and heirloom wood. Reclaimed wood is from local trees taken down for various construction projects and disease or decay. Heirloom wood is from a tree that someone brings to me and requests a commission piece. Most of the time, heirloom wood is from someone’s home place and I really enjoy creating something that I know will help them remember their heritage.

I use a non-structured technique to realize my vision. It usually starts with me thinking about a piece for days or weeks before going out to my shop and putting something down in wood. In my work, the process isn’t as important as the end product so my array of tools and my liberal use of sandpaper may annoy some other woodturning artists, but it’s the way I work. I enjoy the process of creating in my mind and then translating that to my medium but it’s the goal of the finished work that drives me. In other words, the perfection of a single cut isn’t what I’m looking for, it’s the bowl or vase or sculpture that I saw in my dreams for days that is the goal.

I am continuing to create objects in loosely connected series of, natural edge bowls, square bowls, helixes, “Diamond Boxes”, teapots, and sculptural works.

Natural Edge Bowls – My most extensive series is natural edge bowls, which incorporate negative space and textures to define the vessel. This series has had good response from local collectors and other woodturning artists. I’ve even conducted demonstrations in my natural edge turning techniques for local wood turning organizations.

Square Bowls – This series of pieces were inspired by Al Stirt’s work. Al is a wood turner living in Vermont and I had the chance to visit with him and watch a demonstration of his techniques. While my pieces aren’t on scale with his, which are included in the Smithsonian’s Renwick Gallery, I took note of the techniques and think that this form provides an exciting canvas for textures and showing the natural beauty of the wood.

Helices – A recent series of helices defined by finials, spoon handles, and rope carved rims, has taken me off the lathe. I use carving tools to create the effect after turning the majority of the piece. The amount of time it takes to create the accent to my vessels is well worth it when the piece is finished. This series crosses into other work since the helix is used to accent the piece. The thing I like most about carving these is turning on the lathe and watching a piece look like it’s trying to crawl away. I’ve also demonstrated this technique to other turners.

“Diamond Boxes” – My series of “Diamond Boxes” started when I was looking for something to utilize small pieces of wood that were piling up in the corners of my shop. The boxes are made out of various cutoffs of highly figured or rich grained woods and topped with a contrasting finial. They’re really a whimsical collectable but the name for the series came about when my father and I joked that ladies need somewhere to keep their loose diamonds.

Teapots – This is a series that I have just broken the surface with. I love the idea of creating the Mad Hatters tea party out of wood and will be working to realize that vision over the coming year.

Sculptural Works – Like the teapots, I’ve barely scratched the surface of my sculptural designs and have a dozen ideas in my head. I will be concentrating on this body of work over the coming year as well.