Steve Germaine
Pots
Pheasantwood Pot (SG60)
5 1/4" wide x 3 1/2" tall
Finish: oil/varnish blend, wax.
Native to southeastern Asia, pheasantwood is named for warm tones that resemble pheasant tail feathers. Rising from a narrow base, this form tightens at the shoulder before plunging down through a figured elm insert. The insert (and one of ash in the base) highlight the lighter tones of the pot. The shape is a little deceptive, being just larger than can safely be held in one hand. I purchased the blank for this piece from a specialty wood vendor in Oregon.
Apple Pot (SG5)
5 5/8" wide x 2 3/4" tall
Finish: Boiled linseed oil and Salad Bowl finish.
1st Place, Sculptures. 2014 Lines Into Shapes Art Show, Art Center of Estes Park, Estes Park, CO.
This piece is part of an exploration into how different woods work together visually. The apple wood is from a dead tree, and is unusually dark for apple. The curly maple insert showcases the honey-colored accents in the apple, while the narrow walnut transition ring highlights the darker streaks. The overall shape is rather sensuous, and the result is a form that viewers often want to hold. I have a little of this wood left; contact me if you'd like something made from this beautiful wood.
Ash Pot
(SG22)
5" wide x 3 7/8" tall
Finish: Salad bowl finish.
White ash is one of my favorite domestic woods: it turns wonderfully, finishes to a ceramic smoothness, has a beautiful creamy color, and the figure flows gracefully. This piece, from the crotch of a large tree, has heavy curly figure (the rippled look) and is another in my series of shapes inspired by ancient native pottery forms. I have a lot of this wood in a large range of sizes: contact me if you would like a piece made just for you using this beautiful wood.
Hoh Pot
(SG75)
10" wide x 6 1/2" tall
Finish: Oil/varnish, wax.
Best in Show. 2015 Fall Into Art Show, Fort Collins, CO.
Hoh pot...
Turned from a big-leaf maple burl, native to the Pacific Northwest coastal area. A figured walnut inset ring is topped off with more of the burl wood.
Catalpa Pot
(SG28)
6" wide x 4" tall
Finish: Tongue oil.
My goal on the day I turned this piece of catalpa was to create a pot that looked 100 years old straight off of the lathe. The natural-edge rim meanders up and down as it circles the vessel, a natural crack is stabilized by sapele and walnut stitches, and the bottom is gently rounded. Catalpa is a soft wood that turns rather easily and has beautiful, muted colors and serene grain patterns.
The natural-edged rim of this pot formed a spout, and is highlighted by a narrow band of light sapwood. As with most of my pots, this one sits on a gently rounded bottom rather than a foot. Russian olive has the warmth of worn saddle leather and this well balanced little pot is a delight to hold.
Contact me if you would like to order a similar turning.
Russian Olive Pot
(SG45)
4" wide x 3 7/8" tall
Finish: boiled linseed oil and varnish.
Honey Locust Pot
(SG43)
4 1/2" wide x 3 1/4" tall
Finish: boiled linseed oil, oil-varnish blend, wax.
Turned from a weathered block of locust, this piece was inspired by ancient Native American pottery. Locust is a dense, hard wood that is difficult to work and tough on tool steel, but the rewards of doing so are deep warm colors and silk smooth finish.
A couple of cracks present in the original block of wood appear in the final form (see photos).
Plum Pot
(SG9)
I turned this piece on the same day the tree was felled to maximize the potential for wood movement as it dried, and added the heavy rim bead to help control the distortion. The result is a pleasing gentle roll in the rim in the now-dry final piece. During the drying process I discovered that plum wood darkens with age as quickly as cherry does, and this piece (still in my home) continues to darken.
Ash Pot
(SG23)
4 1/2" wide x 4" tall.
Finish: Salad bowl finish, wax.
This piece was turned from a highly figured section of white ash, and is another nod to what might result in a potter's hands. The rounded bottom slims to a high waist then flares slightly at the rim. Delicate beading at the waist is repeated inside the vessel. Turned green, a few stress cracks have been filled with dark wood paste.
The piece of heartwood that I turned this ash goblet from had rather excited figure, so I mounted it on a stable cherry foot and set the finished work on a slab of oiled quartersawn Russian Olive. The calm wood grain in the base balanced the goblet's energy, resulting in a quiet effect overall.
Ash Goblet
(SG24)
4 1/4" wide x 3" tall (goblet)
Finish: Salad bowl finish, wax.
Redwood Burl
(SG84)
5" wide x 4" tall
Finish: boiled linseed oil.
A delicate pot turned from an ancient coastal Redwood burl and trimmed with Wenge (insert ring and base).
Spalted Aspen Pot
(SG123)
8" wide x 5" tall
Finish: Oil/varnish blend
Aspen containing light spalting and red fungal staining with a spalted beech insert, offset by a malachite and coffee transition ring.
Inlaid Aspen Pot
(SG124)
6" wide x 5" tall
Finish: General Finsih Salad Bowl finish.
Inspired by a trip to northern New Mexico, I turned this aspen pot in a form similar to one used by native pueblo potters in the area and inlaid it with a rock art motif using turquoise, calcite, malachite, coffee, and copper.
Snake Dancer pot.