Richard Kennedy

Richard is self taught and has been creating wooden items for 7 years. He is influenced by wood turners such as Bert Marsh, Liam Flynn and Rude Osolink .  Richard is a member of the Association of Woodturners of Great Britain and the American Association of Woodturners.

He creates both functional and ornamental pieces. Using mainly British hardwood sourced from environmentally sound suppliers, windblown and drift wood when available; he focuses on simple shapes for clean modern tactile pieces that sit well on both the coffee or kitchen table.

Working with wood is a privilege and something he finds hugely satisfying. His work focuses on creating ornamental pieces rather than functional items. When creating a piece he finds that a compromise needs to be struck between the artist and the raw material. Working with nature rather than against it flowing line, form, and proportion are paramount to his design.

Richard has sold pieces all over the world but has settled in Argyll to work influenced by its dramatic scenery and raw beauty. He is inspired by the simplest of things, the shape of the shoreline or a weathered rock; everything has a line that can be used in his work. He is currently exploring piercing and asymmetry.
Wood is intrinsically varied in colour, texture and strength something that has to be carefully considered when creating thin walled pieces.  Starting with a solid block of wood the outside shape is created first. This establishes the line and feel of a piece. On patterned pierced work it is essential to get an even wall thickness of less than 2mm this is done using specially sharpened gouges, a diamond hone is use to keep a clean edge. It is at this stage that unstable wood can explode due to the high centrifugal force exerted by the lathe.

Once the bowl shape is completed the next phase can begin, the piercing. This is accomplished using a high speed rotary hand drill and a tiny 1mm sharpened burr. The design is created without drawing on the surface, except to define the areas that are to be cut.  A little like a dentists drill this machine allows very precise control. Over the course of several days the piercing is completed by hand, this is the longest phase of production.  The final stage is to paint the work. Paint is used to allow the viewer to see the piercing clearly. If the wood grain was left visible the overall effect is too busy on the eye. It also allows the viewer to focus on the outside line and form of the work. A single piece can take up to 4 weeks to complete.