2025 Auction Gallery

Group print #1 by 12 linocut artists. Size: 20" x 16" x 1". Frame made and painted by Marjin Wall; handmade cotton/abaca paper by Julie Johnson; linocuts arranged and printed by Rory Sparks; prints editioned by Ben Smith. Carvers, starting upper left: Tom Willing; Leslie Crist; Michael Kehs; Ben Smith; David Williams; Rose Covert; Arthur Perlett; Kristin Mitsu Shiga; Mike Free; Marjin Wall; Jerri Bartholomew; Arielle Brackett. This is print number 1 in an edition of 26.

These group prints are an annual Frogwood tradition coordinated by Marjin Wall.

Detail of frame and print.

Detail of frame and print.

Group print #2 by 12 linocut artists. Size: 20" x 16" x 1". Frame made by Marjin Wall; painted by Michael de Forest; handmade cotton/abaca paper by Julie Johnson; linocuts arranged and printed by Rory Sparks; prints editioned by Ben Smith. Carvers, starting upper left: Kate LaGrand; Harete Tito; Deb Curtis; Julie Johnson; Graeme Priddle; Jim Piper; Kailee Bosch; Kathleen Krucoff; Laurent Niclot; Frans Lotz; Jason Nemec; and Michael de Forest. This is print Number 1 of an edition of 26.

These group linocut prints are an annual Frogwood tradition coordinated by Marjin Wall.

Detail of frame and print.

Detail of frame and print.

Group print #3 by 12 linocut artists. Size: 20" x 16" x 1". Frame made and painted by Marjin Wall; handmade cotton/abaca paper by Julie Johnson; linocuts arranged and printed by Rory Sparks; prints editioned by Ben Smith. Carvers, starting upper left: Jani Hoberg; Tami Dean; Teri Power; John Wirth; Lisa Geertsen; Phil Seder; Max McBurnett; Bob Rotche; Joe Seltzer; Te Rautini Sheridan; Ajit Aserappa; Peter Underwood. This is print Number 1 of an edition of 27.

These group linocut prints are an annual Frogwood tradition coordinated by Marjin Wall.

Detail of frame and print.

Detail of frame and print.

Marjin Wall and Michael de Forest. Size: 17"x 14" x 13". Marjin turned and assembled the walnut parts using multi-axis techniques. Her inspiration came from looking at a house undergoing demolition and noticing now the remaining sructure creates a kind of eerie sculpture. Michael, inspired by the autumn foliage outside his dining room, painted the sculpture using milk paints.

Marjin Wall and Michael de Forest. Size: 17"x 14" x 13". Marjin turned and assembled the walnut parts using multi-axis techniques. Her inspiration came from looking at a house undergoing demolition and noticing now the remaining sructure creates a kind of eerie sculpture. Michael, inspired by the autumn foliage outside his dining room, painted the sculpture using milk paints.

Marjin Wall and Michael de Forest. Size: 17"x 14" x 13". Marjin turned and assembled the walnut parts using multi-axis techniques. Her inspiration came from looking at a house undergoing demolition and noticing now the remaining sructure creates a kind of eerie sculpture. Michael, inspired by the autumn foliage outside his dining room, painted the sculpture using milk paints.

Bob Rotche and Sally Ault. 3.5" x 4.5" x 3". Bandsaw box created out of poplar by Sally. Bob textured and painted it with acrylics.

Bob Rotche and Sally Ault. 3.5" x 4.5" x 3". Bandsaw box created out of poplar by Sally. Bob textured and painted it with acrylics.

Bob Rotche and Sally Ault. 3.5" x 4.5" x 3". Bandsaw box created out of poplar by Sally. Bob textured and painted it with acrylics.

Bob Rotche and Sally Ault. 3.5" x 4.5" x 3". Bandsaw box created out of poplar by Sally. Bob textured and painted it with acrylics.

Bob Rotche and Sally Ault. 3.5" x 4.5" x 3". Bandsaw box created out of poplar by Sally. Bob textured and painted it with acrylics.

Bob Rotche, Peter Underwood, Phil Seder. 15" x 6" x 6". Bob: wood body, texture and paint; Peter: wings, tongue and tail; Phil: legs and tail-holder. Bob and Peter were artists that Phil admired at Frogwood 2023. Bob, for the precision of his carving skills and Peter for his zany vision. Inspired by a whimsical creature created at Frogwood 2023, we decided another whimsical creature would be fun to make together. This may be one of the more well-traveled creations, having moved from Virginia to Hawaii and then to Oregon.

Materials: Wood, paint, steel, and fabric.

6" x 6". Bob: wood body, texture and paint; Peter: wings, tongue and tail; Phil: legs and tail-holder. Bob and Peter were artists that Phil admired at Frogwood 2023. Bob, for the precision of his carving skills and Peter for his zany vision. Inspired by a whimsical creature created at Frogwood 2023, we decided another whimsical creature would be fun to make together. This may be one of the more well-traveled creations, having moved from Virginia to Hawaii and then to Oregon.

Materials: Wood, paint, steel, and fabric.

Chayo Wilson and Rose Covert. 19" tall x 16" wide x 8" deep. Rose wove the willow 'sail' first and gave it to Chayo. Chayo was inspired by the shape and worked with beeswax to start weaving colored threads into it. Chayo found a stoneware boat form (made earlier) and it fit the twig creation perfectly as a sail! Chayo journeyed through many ways and items to put in the boat and also several different flanging pieces. The rough crystal hanging from the tip of the sail brought everything together - the light for the journey!

Materials: Ceramic/stoneware, curly willow, iron rack, thread, beeswax, crystal.

Chayo Wilson and Rose Covert. 19" tall x 16" wide x 8" deep. Rose wove the willow 'sail' first and gave it to Chayo. Chayo was inspired by the shape and worked with beeswax to start weaving colored threads into it. Chayo found a stoneware boat form (made earlier) and it fit the twig creation perfectly as a sail! Chayo journeyed through many ways and items to put in the boat and also several different flanging pieces. The rough crystal hanging from the tip of the sail brought everything together - the light for the journey!

Materials: Ceramic/stoneware, curly willow, iron rack, thread, beeswax, crystal.

Chayo Wilson and Rose Covert. 19" tall x 16" wide x 8" deep. Rose wove the willow 'sail' first and gave it to Chayo. Chayo was inspired by the shape and worked with beeswax to start weaving colored threads into it. Chayo found a stoneware boat form (made earlier) and it fit the twig creation perfectly as a sail! Chayo journeyed through many ways and items to put in the boat and also several different flanging pieces. The rough crystal hanging from the tip of the sail brought everything together - the light for the journey!

Materials: Ceramic/stoneware, curly willow, iron rack, thread, beeswax, crystal.

Chayo Wilson and Rose Covert. 19" tall x 16" wide x 8" deep. Rose wove the willow 'sail' first and gave it to Chayo. Chayo was inspired by the shape and worked with beeswax to start weaving colored threads into it. Chayo found a stoneware boat form (made earlier) and it fit the twig creation perfectly as a sail! Chayo journeyed through many ways and items to put in the boat and also several different flanging pieces. The rough crystal hanging from the tip of the sail brought everything together - the light for the journey!

Materials: Ceramic/stoneware, curly willow, iron rack, thread, beeswax, crystal.

Joe Seltzer and Michael Kehs. 6" h x 3" diameter. My friend Joe asked me to  to collab on this piece. As a collab, his turned piece made of ash was a perfect form to use my fire sanding technique. The torching leaves a beautiful texture that follows the grain patern. The application of gilder's paste accents that texture.

Materials: Ash wood, gilder's paste

Note: There is an opening in the top that could be used to hold dried flowers, etc (see detail image).

Joe Seltzer and Michael Kehs. 6" h x 3" diameter. My friend Joe asked me to  to collab on this piece. As a collab, his turned piece made of ash was a perfect form to use my fire sanding technique. The torching leaves a beautiful texture that follows the grain patern. The application of gilder's paste accents that texture.

Materials: Ash wood, gilder's paste

Note: There is an opening in the top that could be used to hold dried flowers, etc (see detail image).

Joe Seltzer and Michael Kehs. 6" h x 3" diameter. My friend Joe asked me to  to collab on this piece. As a collab, his turned piece made of ash was a perfect form to use my fire sanding technique. The torching leaves a beautiful texture that follows the grain patern. The application of gilder's paste accents that texture.

Materials: Ash wood, gilder's paste

Note: There is an opening in the top that could be used to hold dried flowers, etc (see detail image).

The top has an opening which might be used for display.

Arielle Brackett and Kristy Kun. 24"x 6" x 1.5". The inspiration for this piece is the interconnectedness of all living beings. This piece is intended to represent the curiousities that wandering in a forest or snorkling in a coral reef evoke.

Materials: Wool, brass, waxed thread, paper, acrylic paint, gel medium, pva.

Arielle Brackett and Kristy Kun. 24"x 6" x 1.5". The inspiration for this piece is the interconnectedness of all living beings. This piece is intended to represent the curiousities that wandering in a forest or snorkling in a coral reef evoke.

Materials: Wool, brass, waxed thread, paper, acrylic paint, gel medium, pva.

Arielle Brackett and Kristy Kun. 24"x 6" x 1.5". The inspiration for this piece is the interconnectedness of all living beings. This piece is intended to represent the curiousities that wandering in a forest or snorkling in a coral reef evoke.

Materials: Wool, brass, waxed thread, paper, acrylic paint, gel medium, pva.

Harete Tito and Julie Johnson. 19"h x 16" w x 1/2" deep. Harete made the harakeke (NZ flax) paper presented on top and painted the koru (spirals) with her harakeke seed pod dye. For Harete, these koru feel like ripples being sent out into the world - like when a stone is dropped in the water. Beause they spirals flow in and out, they also signify balance for Harete. Julie made the background paper with cotton and abaca and dyed the edges with her walnut bark dye. She pierced a path from one spiral's center to the other ... to literally feel her way between the two koru. For her, this represented a path between the two cultures - in and out, back and forth - balanced.  Julie framed the piece with a variety of willows that she gathered from a riparian area - the willows echoing the ripples of Harete's koru.

Materials: NZ flax, cotton, abaca handmade papers; NZ flax seed pod dye; willow

Harete Tito and Julie Johnson. 19"h x 16" w x 1/2" deep. Harete made the harakeke (NZ flax) paper presented on top and painted the koru (spirals) with her harakeke seed pod dye. For Harete, these koru feel like ripples being sent out into the world - like when a stone is dropped in the water. Beause they spirals flow in and out, they also signify balance for Harete. Julie made the background paper with cotton and abaca and dyed the edges with her walnut bark dye. She pierced a path from one spiral's center to the other ... to literally feel her way between the two koru. For her, this represented a path between the two cultures - in and out, back and forth - balanced.  Julie framed the piece with a variety of willows that she gathered from a riparian area - the willows echoing the ripples of Harete's koru.

Materials: NZ flax, cotton, abaca handmade papers; NZ flax seed pod dye; willow

Arielle Brackett and Rose Covert. 3" x 1.5" x .75". These earrings were inspired by the use of hard and soft materials: the hard metals with the soft baskets. Baskets represent so much including collecting, holding, gathering, containing, etc. Arielle's metal work was inspired by the baskets themselves.

Materials: Waxed linen, bronze, powder coating paint, sterling silver.

Arielle Brackett and Rose Covert. 3" x 1.5" x .75". These earrings were inspired by the use of hard and soft materials: the hard metals with the soft baskets. Baskets represent so much including collecting, holding, gathering, containing, etc. Arielle's metal work was inspired by the baskets themselves.

Materials: Waxed linen, bronze, powder coating paint, sterling silver.

Te Rautini Sheridan, Harete Tito, Marjin Wall, Rory Sparks,  Julie Johnson, and Ben Smith. 20" x 16" x 1" deep. Te and Harete hand carved the linoleum block. The incredible design holds deep meaning - please see the image of Te Rautini's description to read about this. A copy of this is attached to the back of the frame. Marjin built the frame and milk-painted it; Julie made the cotton/abaca paper; Rory printed the carved block; and Ben editioned the prints. This is print number 1 of 5.

Angelita Surmon and Julie Johnson. 12"high x 5.5" wide x 3" deep. Julie handmade the kozo and curly dock leaf stem paper and applied it to her red osier dogwood and waxed linen armature. She made three of these small dancing sculptures and Angelita chose her favorite one to paint. Inspired by her recent visit to the Met Cloisters Garden in New York City, Angelita painted this medievally inspired motif. As she painted, she imagined the small whimsical piece protecting a seedling in a beautifully manicured medieval garden. This delighted Julie!

Materials: Handmade paper, red osier dogwood, waxed linen, acrylic paint

Angelita Surmon and Julie Johnson. 12"high x 5.5" wide x 3" deep. Julie handmade the kozo and curly dock leaf stem paper and applied it to her red osier dogwood and waxed linen armature. She made three of these small dancing sculptures and Angelita chose her favorite one to paint. Inspired by her recent visit to the Met Cloisters Garden in New York City, Angelita painted this medievally inspired motif. As she painted, she imagined the small whimsical piece protecting a seedling in a beautifully manicured medieval garden. This delighted Julie!

Materials: Handmade paper, red osier dogwood, waxed linen, acrylic paint

Dale Duvall, Kristy Kun, John Wirth, and Tami Dean. 8"x2"x1". The idea for a knife was Kristy's. Dale agreed to forge a blade. Once the 1080 steel blade was forged and the stabilized white oak handle was attached, Dale provided a piece of turquoise that his father had 'secreted' out of a mine in his lunchbox. Tami was instrumental in inlaying the first piece of stone. John inlaid the second stone and fabricated the leather sheath. This amazing piece was started during Frogwood 2023, but was not complete in time for that auction.

Materials: 1080 steel bar stock, stabilized white oak (old wine cask); turquoise, leather.

Dale Duvall, Kristy Kun, John Wirth, and Tami Dean. 8"x2"x1". The idea for a knife was Kristy's. Dale agreed to forge a blade. Once the 1080 steel blade was forged and the stabilized white oak handle was attached, Dale provided a piece of turquoise that his father had 'secreted' out of a mine in his lunchbox. Tami was instrumental in inlaying the first piece of stone. John inlaid the second stone and fabricated the leather sheath. This amazing piece was started during Frogwood 2023, but was not complete in time for that auction.

Materials: 1080 steel bar stock, stabilized white oak (old wine cask); turquoise, leather.

Dale Duvall, Kristy Kun, John Wirth, and Tami Dean. 8"x2"x1". The idea for a knife was Kristy's. Dale agreed to forge a blade. Once the 1080 steel blade was forged and the stabilized white oak handle was attached, Dale provided a piece of turquoise that his father had 'secreted' out of a mine in his lunchbox. Tami was instrumental in inlaying the first piece of stone. John inlaid the second stone and fabricated the leather sheath. This amazing piece was started during Frogwood 2023, but was not complete in time for that auction.

Materials: 1080 steel bar stock, stabilized white oak (old wine cask); turquoise, leather.

Rose Covert, Chayo Wilson, and Beth Wilson. Size: 16"x17"x10". Relics, remains, artifacts. Nested, woven, ensnared. Using the inspiration point of this bottomless bowl artists Rose, Chayo and Beth created this dynamic piece that is full of interesting angles and unexpected symmetries. There is a great balance of hard and soft in this work, a feeling of being held, of movement and stillness. With Beth’s written piece woven in this sculpture speaks to us of remembering and forgetting of being held and being caught, of life and its beautiful entanglements.

Materials: Hand-harvested willow, stoneware bowl, graphite, brown paper.

Rose Covert, Chayo Wilson, and Beth Wilson. Size: 16"x17"x10". Relics, remains, artifacts. Nested, woven, ensnared. Using the inspiration point of this bottomless bowl artists Rose, Chayo and Beth created this dynamic piece that is full of interesting angles and unexpected symmetries. There is a great balance of hard and soft in this work, a feeling of being held, of movement and stillness. With Beth’s written piece woven in this sculpture speaks to us of remembering and forgetting of being held and being caught, of life and its beautiful entanglements.

Materials: Hand-harvested willow, stoneware bowl, graphite, brown paper.

Rose Covert, Chayo Wilson, and Beth Wilson. Size: 16"x17"x10". Relics, remains, artifacts. Nested, woven, ensnared. Using the inspiration point of this bottomless bowl artists Rose, Chayo and Beth created this dynamic piece that is full of interesting angles and unexpected symmetries. There is a great balance of hard and soft in this work, a feeling of being held, of movement and stillness. With Beth’s written piece woven in this sculpture speaks to us of remembering and forgetting of being held and being caught, of life and its beautiful entanglements.

Materials: Hand-harvested willow, stoneware bowl, graphite, brown paper.

Rose Covert, Chayo Wilson, and Beth Wilson. Size: 16"x17"x10". Relics, remains, artifacts. Nested, woven, ensnared. Using the inspiration point of this bottomless bowl artists Rose, Chayo and Beth created this dynamic piece that is full of interesting angles and unexpected symmetries. There is a great balance of hard and soft in this work, a feeling of being held, of movement and stillness. With Beth’s written piece woven in this sculpture speaks to us of remembering and forgetting of being held and being caught, of life and its beautiful entanglements.

Materials: Hand-harvested willow, stoneware bowl, graphite, brown paper.

Jason Greene, Julie Johnson, Marjin Wall, and Ben Smith. 9" w x 11" h x 1" d. Julie and Ben collected mushrooms growing in their yard for several months and Julie made spore prints all over this canvas (see photo with mushroom tops and glasses). Jason worked with the spore-prints-on-canvas as a base to create this composition - highlighting some prints and concealing others, as he worked his artistic magic. Marjin made the frame and painted it with multiple layers of milk paint.

Jason Greene, Julie Johnson, Marjin Wall, and Ben Smith. 9" w x 11" h x 1" d. Julie and Ben collected mushrooms growing in their yard for several months and Julie made spore prints all over this canvas (see photo with mushroom tops and glasses). Jason worked with the spore-prints-on-canvas as a base to create this composition - highlighting some prints and concealing others, as he worked his artistic magic. Marjin made the frame and painted it with multiple layers of milk paint.

Jason Greene, Julie Johnson, Marjin Wall, and Ben Smith. 9" w x 11" h x 1" d. Julie and Ben collected mushrooms growing in their yard for several months and Julie made spore prints all over this canvas (see photo with mushroom tops and glasses). Jason worked with the spore-prints-on-canvas as a base to create this composition - highlighting some prints and concealing others, as he worked his artistic magic. Marjin made the frame and painted it with multiple layers of milk paint.

How the spore prints were made.

Jerri Bartholomew and Sally Ault. 9.5" l x 4.5" w x 3.5" h. Jerri sent Sally the beautiful cast-glass branch, cast from a real twig. Sally thought it wanted to cradle something, so she selected the madrone burl to turn the bowl because it had just the right amount of natural interest to fit with the branch.

Note: This is an interactive piece - the bowl is simply balanced lightly on the branch.

Jerri Bartholomew and Sally Ault. 9.5" l x 4.5" w x 3.5" h. Jerri sent Sally the beautiful cast-glass branch, cast from a real twig. Sally thought it wanted to cradle something, so she selected the madrone burl to turn the bowl because it had just the right amount of natural interest to fit with the branch.

Note: This is an interactive piece - the bowl is simply balanced lightly on the branch.

Jerri Bartholomew and Sally Ault. 9.5" l x 4.5" w x 3.5" h. Jerri sent Sally the beautiful cast-glass branch, cast from a real twig. Sally thought it wanted to cradle something, so she selected the madrone burl to turn the bowl because it had just the right amount of natural interest to fit with the branch.

Note: This is an interactive piece - the bowl is simply balanced lightly on the branch.

Jerri Bartholomew and Sally Ault. 9.5" l x 4.5" w x 3.5" h. Jerri sent Sally the beautiful cast-glass branch, cast from a real twig. Sally thought it wanted to cradle something, so she selected the madrone burl to turn the bowl because it had just the right amount of natural interest to fit with the branch.

Note: This is an interactive piece - the bowl is simply balanced lightly on the branch.

Cast glass twig and madrone burl bowl.

Deb Curtis and Leslie Crist. 2.25"x 4.5" x 1.25". Adding soft flexible material to a stone intrigued both Crist and Curtis. Melding the materials to create a vessel, while not revealing everything all at once to the viewer added an element of mystery. When one picks this piece up, they realize there is something more substantial than what they first see - its yellow japsper rock bottom adds a surprise feature to a diminutive piece.

Materials: Yellow jasper stone, western red cedar bark, Alaskan yellow cedar bark.

Deb Curtis and Leslie Crist. 2.25"x 4.5" x 1.25". Adding soft flexible material to a stone intrigued both Crist and Curtis. Melding the materials to create a vessel, while not revealing everything all at once to the viewer added an element of mystery. When one picks this piece up, they realize there is something more substantial than what they first see - its yellow japsper rock bottom adds a surprise feature to a diminutive piece.

Materials: Yellow jasper stone, western red cedar bark, Alaskan yellow cedar bark.

Materials: Yellow jasper stone, western red cedar bark, Alaskan yellow cedar bark.

Deb Curtis and Leslie Crist. 2.25"x 4.5" x 1.25". Adding soft flexible material to a stone intrigued both Crist and Curtis. Melding the materials to create a vessel, while not revealing everything all at once to the viewer added an element of mystery. When one picks this piece up, they realize there is something more substantial than what they first see - its yellow japsper rock bottom adds a surprise feature to a diminutive piece.

Materials: Yellow jasper stone, western red cedar bark, Alaskan yellow cedar bark.

Bob Rotche and Phil Seder. 4"x4". This small bowl is notable for the exquisite grain pattern on the small redwood bowl, turned by Bob. The bright green of Phil's copper lid creates a contrast that delights the eye. The button handle on the lid is formed with hand-cast studio scrap copper. The simplicity of the forged-ring tripod base projects the primary object and sets it as a visual focus point.

Materials: Redwood, copper, cast copper, green patina, forged steel.

Note: Number 1 is the first of 3 turned bowls in this series; 2 and 3 make a nice set with this piece! See the photo with all three bowls!

Bob Rotche and Phil Seder. 4"x4". This small bowl is notable for the exquisite grain pattern on the small redwood bowl, turned by Bob. The bright green of Phil's copper lid creates a contrast that delights the eye. The button handle on the lid is formed with hand-cast studio scrap copper. The simplicity of the forged-ring tripod base projects the primary object and sets it as a visual focus point.

Materials: Redwood, copper, cast copper, green patina, forged steel.

Note: Number 1 is the first of 3 turned bowls in this series; 2 and 3 make a nice set with this piece! See the photo with all three bowls!

Bob Rotche and Phil Seder. 4"x4". This small bowl is notable for the exquisite grain pattern on the small redwood bowl, turned by Bob. The bright green of Phil's copper lid creates a contrast that delights the eye. The button handle on the lid is formed with hand-cast studio scrap copper. The simplicity of the forged-ring tripod base projects the primary object and sets it as a visual focus point.

Materials: Redwood, copper, cast copper, green patina, forged steel.

Note: Number 1 is the first of 3 turned bowls in this series; 2 and 3 make a nice set with this piece! See the photo with all three bowls!

Bob Rotche and Phil Seder. 4"x4". The beautifully turned English walnut bowl, created by Bob, is accented with a brushed brass lid capped with a copper button handle cast from studio scrap by Phil. The simple forged steel ring tripod, also by Phil, elevates the work making it the subject of visual focus.

Materials: English walnut, brushed brass, cast copper, forged steel.

Note: Along with Turned Bowls 1 and 3, this makes a lovely set! See photo 4.

Bob Rotche and Phil Seder. 4"x4". The beautifully turned English walnut bowl, created by Bob, is accented with a brushed brass lid capped with a copper button handle cast from studio scrap by Phil. The simple forged steel ring tripod, also by Phil, elevates the work making it the subject of visual focus.

Materials: English walnut, brushed brass, cast copper, forged steel.

Note: Along with Turned Bowls 1 and 3, this makes a lovely set! See photo 4.

Bob Rotche and Phil Seder. 4"x4". The beautifully turned English walnut bowl, created by Bob, is accented with a brushed brass lid capped with a copper button handle cast from studio scrap by Phil. The simple forged steel ring tripod, also by Phil, elevates the work making it the subject of visual focus.

Materials: English walnut, brushed brass, cast copper, forged steel.

Note: Along with Turned Bowls 1 and 3, this makes a lovely set! See photo 4.

Bob Rotche and Phil Seder. 4" x 4". The striking vertical grain lines of the turned cebil bowl, created by Bob, are accented by the radiating lines of the rusted steel washer forming the lid. Phil's copper button in the lid's center adds further visual interest. The forged ring tripod base lifts the object, making it the visual focus.

Materials: Cebil, found object, copper, forged steel

Note: This is the 3rd in a series with Turned Bowls 1 and 2 -  together they would make a wonderful set! See photo.

Bob Rotche and Phil Seder. 4" x 4". The striking vertical grain lines of the turned cebil bowl, created by Bob, are accented by the radiating lines of the rusted steel washer forming the lid. Phil's copper button in the lid's center adds further visual interest. The forged ring tripod base lifts the object, making it the visual focus.

Materials: Cebil, found object, copper, forged steel

Note: This is the 3rd in a series with Turned Bowls 1 and 2 -  together they would make a wonderful set! See photo.

Bob Rotche and Phil Seder. 4" x 4". The striking vertical grain lines of the turned cebil bowl, created by Bob, are accented by the radiating lines of the rusted steel washer forming the lid. Phil's copper button in the lid's center adds further visual interest. The forged ring tripod base lifts the object, making it the visual focus.

Materials: Cebil, found object, copper, forged steel

Note: This is the 3rd in a series with Turned Bowls 1 and 2 -  together they would make a wonderful set! See photo.

These will be sold individually - but wouldn't they make a great grouping?!

See other photos of the individual bowls for more details about each.

These will be sold individually - but wouldn't they make a great grouping?!

See other photos of the individual bowls for more details about each.

Julie Johnson and Deb Curtis. 6" diameter and 5" high. Julie beat the flax, handmade the paper and dyed it with her handmade cochineal dye. She sent the large piece of finished paper to Deb who designed and stitched the vessel. Deb sent it back to Julie who random-wove the opening closed with waxed linen and snake ribs. The acorn tops hidden inside, along with the dancing waxed linen and ribs on the outside, make a wonderful two-toned rattle sound - certain to charm any snake!

Materials: Handmade flax paper, cochineal dye, waxed linen, snake ribs, acorns.

Julie Johnson and Deb Curtis. 6" diameter and 5" high. Julie beat the flax, handmade the paper and dyed it with her handmade cochineal dye. She sent the large piece of finished paper to Deb who designed and stitched the vessel. Deb sent it back to Julie who random-wove the opening closed with waxed linen and snake ribs. The acorn tops hidden inside, along with the dancing waxed linen and ribs on the outside, make a wonderful two-toned rattle sound - certain to charm any snake!

Materials: Handmade flax paper, cochineal dye, waxed linen, snake ribs, acorns.

Marjin Wall and Kate LaGrand. 4" diameter x 6.5" high. Marjin turned the oak box and shaped the finial. Kate painted the finial.

Materials: Oregon white oak, ebony, holly and milk paint

Marjin Wall and Kate LaGrand. 4" diameter x 6.5" high. Marjin turned the oak box and shaped the finial. Kate painted the finial.

Materials: Oregon white oak, ebony, holly and milk paint

Marjin Wall and Kate LaGrand. 4" diameter x 6.5" high. Marjin turned the oak box and shaped the finial. Kate painted the finial.

Materials: Oregon white oak, ebony, holly and milk paint

Neal Fegan, Ben Smith, Barbara Frederiksen-Cross, Ajit Aserappa, Greg Wilbur. 6"x6"x3". In version 2.0, Ollie is presented on a turned black walnut stand made by Ajit. Neal collected Ollie's fleece at Camp Colton. Greg picked up the fleece and brought it to Ben. Ben washed, carded and needle-felted it to sculpt a new Ollie (dyed sheep's wool was used to create the eyes/nose/mouth and inside the ears). Ben hand-carved and painted maple legs and hoofs and mounted him on Ajit's turned walnut base. Barbara sculpted Ollie's fine silver horns using a special silver clay that she kiln-fired and then patinaed to match his coat. This group collaboration is number 2 in the Ollie series; the first was created during Frogwood 2023 with wood horns.

Neal Fegan, Ben Smith, Barbara Frederiksen-Cross, Ajit Aserappa, Greg Wilbur. 6"x6"x3". In version 2.0, Ollie is presented on a turned black walnut stand made by Ajit. Neal collected Ollie's fleece at Camp Colton. Greg picked up the fleece and brought it to Ben. Ben washed, carded and needle-felted it to sculpt a new Ollie (dyed sheep's wool was used to create the eyes/nose/mouth and inside the ears). Ben hand-carved and painted maple legs and hoofs and mounted him on Ajit's turned walnut base. Barbara sculpted Ollie's fine silver horns using a special silver clay that she kiln-fired and then patinaed to match his coat. This group collaboration is number 2 in the Ollie series; the first was created during Frogwood 2023 with wood horns.

Neal Fegan, Ben Smith, Barbara Frederiksen-Cross, Ajit Aserappa, Greg Wilbur. 6"x6"x3". In version 2.0, Ollie is presented on a turned black walnut stand made by Ajit. Neal collected Ollie's fleece at Camp Colton. Greg picked up the fleece and brought it to Ben. Ben washed, carded and needle-felted it to sculpt a new Ollie (dyed sheep's wool was used to create the eyes/nose/mouth and inside the ears). Ben hand-carved and painted maple legs and hoofs and mounted him on Ajit's turned walnut base. Barbara sculpted Ollie's fine silver horns using a special silver clay that she kiln-fired and then patinaed to match his coat. This group collaboration is number 2 in the Ollie series; the first was created during Frogwood 2023 with wood horns.

Deb Curtis and Julie Johnson. 8.5" l x 5.5" t x 4.5" w. Julie eco-printed autumn leaves on Arches watercolor paper using an iron mordant to transfer the leaf colors and prints to the paper. She sent the paper to Deb, who designed and wove the basket using black walnut bark and waxed cotton cord. Deb used Japanese recycled craft paper for the warp on the short sides and the rim band.

Deb Curtis and Julie Johnson. 8.5" l x 5.5" t x 4.5" w. Julie eco-printed autumn leaves on Arches watercolor paper using an iron mordant to transfer the leaf colors and prints to the paper. She sent the paper to Deb, who designed and wove the basket using black walnut bark and waxed cotton cord. Deb used Japanese recycled craft paper for the warp on the short sides and the rim band.

Deb Curtis and Julie Johnson. 8.5" l x 5.5" t x 4.5" w. Julie eco-printed autumn leaves on Arches watercolor paper using an iron mordant to transfer the leaf colors and prints to the paper. She sent the paper to Deb, who designed and wove the basket using black walnut bark and waxed cotton cord. Deb used Japanese recycled craft paper for the warp on the short sides and the rim band.

Greg Wilbur and Julie Johnson. Size: 7"x 4" x 10".  This is a great example of slow, deliberate art. Julie tied a young willow branch around the rock and left it to grow for a few years. When the willow had pleached (merged with itself and grown into a solid piece) around the rock, she cut it off and gave it to Greg. Greg looked at it for about nine years, then cut it into a balanced stand for a his raised copper piece.

Materials: Pleached willow, barnacled Oregon beach rock, raised copper.

Materials: Pleached willow, barnacled Oregon beach rock, raised copper.

Greg Wilbur and Julie Johnson. Size: 7"x 4" x 10".  This is a great example of slow, deliberate art. Julie tied a young willow branch around the rock and left it to grow for a few years. When the willow had pleached (merged with itself and grown into a solid piece) around the rock, she cut it off and gave it to Greg. Greg looked at it for about nine years, then cut it into a balanced stand for a his raised copper piece.

Materials: Pleached willow, barnacled Oregon beach rock, raised copper.

Greg Wilbur and Julie Johnson. Size: 7"x 4" x 10".  This is a great example of slow, deliberate art. Julie tied a young willow branch around the rock and left it to grow for a few years. When the willow had pleached (merged with itself and grown into a solid piece) around the rock, she cut it off and gave it to Greg. Greg looked at it for about nine years, then cut it into a balanced stand for a his raised copper piece.

Materials: Pleached willow, barnacled Oregon beach rock, raised copper.

Beth Wilson and Rose Covert. 10"x11"x5". Beth and Rose brought together two solo explorations to this piece. This work combines the organic structure of the willows woven by Rose with the elegant experimental book binding techniques made by Beth, to create a fluid sculptural form. This work embodies mindful repetition and engaging movement around how our thoughts form our experiences and create our outcomes.

Materials: Hand-harvested willow, tracing paper, graphite, copper thread.

Note: This beautiful piece can either hang on the wall or be placed on a surface.

Beth Wilson and Rose Covert. 10"x11"x5". Beth and Rose brought together two solo explorations to this piece. This work combines the organic structure of the willows woven by Rose with the elegant experimental book binding techniques made by Beth, to create a fluid sculptural form. This work embodies mindful repetition and engaging movement around how our thoughts form our experiences and create our outcomes.

Materials: Hand-harvested willow, tracing paper, graphite, copper thread.

Note: This beautiful piece can either hang on the wall or be placed on a surface.

Materials: Hand-harvested willow, tracing paper, graphite, copper thread.

Beth Wilson and Rose Covert. 10"x11"x5". Beth and Rose brought together two solo explorations to this piece. This work combines the organic structure of the willows woven by Rose with the elegant experimental book binding techniques made by Beth, to create a fluid sculptural form. This work embodies mindful repetition and engaging movement around how our thoughts form our experiences and create our outcomes.

Materials: Hand-harvested willow, tracing paper, graphite, copper thread.

Note: This beautiful piece can either hang on the wall or be placed on a surface.

Beth Wilson and Rose Covert. 10"x11"x5". Beth and Rose brought together two solo explorations to this piece. This work combines the organic structure of the willows woven by Rose with the elegant experimental book binding techniques made by Beth, to create a fluid sculptural form. This work embodies mindful repetition and engaging movement around how our thoughts form our experiences and create our outcomes.

Materials: Hand-harvested willow, tracing paper, graphite, copper thread.

Note: This beautiful piece can either hang on the wall or be placed on a surface.

Greg Wilbur, Ajit Aserappa, Ben Smith and Julie Johnson. 9"x 9"x 4". The body of this pitcher was skillfully raised by Greg. After years of contemplating where to take it next, Greg handed it off to Ben and Ajit to see what they would do with it. Ben hand-carved the nature-inspired big leaf maple handle, and burned designs into the wood. He also carved a cherry branch from Ajit to connect the organic piece to the pitcher. (Ajit and Ben attempted many different designs and techniques during the creation of this handle!)

Greg Wilbur, Ajit Aserappa, Ben Smith and Julie Johnson. 9"x 9"x 4". The body of this pitcher was skillfully raised by Greg. After years of contemplating where to take it next, Greg handed it off to Ben and Ajit to see what they would do with it. Ben hand-carved the nature-inspired big leaf maple handle, and burned designs into the wood. He also carved a cherry branch from Ajit to connect the organic piece to the pitcher. (Ajit and Ben attempted many different designs and techniques during the creation of this handle!)

Greg Wilbur, Ajit Aserappa, Ben Smith and Julie Johnson. 9"x 9"x 4". The body of this pitcher was skillfully raised by Greg. After years of contemplating where to take it next, Greg handed it off to Ben and Ajit to see what they would do with it. Ben hand-carved the nature-inspired big leaf maple handle, and burned designs into the wood. He also carved a cherry branch from Ajit to connect the organic piece to the pitcher. (Ajit and Ben attempted many different designs and techniques during the creation of this handle!)

Tom Willing, Ron Gerton and Mike Free. Size: 5" diameter x 16" high. Part whimsy, part contemplation, this piece explores how ideas connect across diverse materials. Mike created the silver ring and Ron cast the frog; this ring and frog twirl freely around the finial. Tom did all the woodworking and air brush painting.

Materials: Maple burl, walnut, sterling silver, acrylic.

Materials: Maple burl, walnut, sterling silver, acrylic.

Tom Willing, Ron Gerton and Mike Free. Size: 5" diameter x 16" high. Part whimsy, part contemplation, this piece explores how ideas connect across diverse materials. Mike created the silver ring and Ron cast the frog; this ring and frog twirl freely around the finial. Tom did all the woodworking and air brush painting.

Materials: Maple burl, walnut, sterling silver, acrylic.

Materials: Maple burl, walnut, sterling silver, acrylic.

Deb Curtis and Leslie Crist. Size: 7.25" x 4.75" x 4.5". One way or another, trying to remain grounded while parrying life's vicissitudes has been a theme in Crist's work for several years. Working with rocks for stability and timelessness, she wanted a collaborator to add organic materials and a sense of immediacy and drama. Enter Deb Curtis - master basket weaver - whose sharp eyes and nimble fingers merged gorgeous colors and textures to the stone base. The contrasting openness of the top and cozy enclosure at the bottom make the piece immenently approachable. Ironically, it's the wobbly rock that creates instability in this piece, while the ordered structure of the weaving helps bring it back to balance.

Note: This sculptural basket rocks ... on the rock! It's very fun to interact with.

Deb Curtis and Leslie Crist. Size: 7.25" x 4.75" x 4.5". One way or another, trying to remain grounded while parrying life's vicissitudes has been a theme in Crist's work for several years. Working with rocks for stability and timelessness, she wanted a collaborator to add organic materials and a sense of immediacy and drama. Enter Deb Curtis - master basket weaver - whose sharp eyes and nimble fingers merged gorgeous colors and textures to the stone base. The contrasting openness of the top and cozy enclosure at the bottom make the piece immenently approachable. Ironically, it's the wobbly rock that creates instability in this piece, while the ordered structure of the weaving helps bring it back to balance.

Note: This sculptural basket rocks ... on the rock! It's very fun to interact with.

Deb Curtis and Leslie Crist. Size: 7.25" x 4.75" x 4.5". One way or another, trying to remain grounded while parrying life's vicissitudes has been a theme in Crist's work for several years. Working with rocks for stability and timelessness, she wanted a collaborator to add organic materials and a sense of immediacy and drama. Enter Deb Curtis - master basket weaver - whose sharp eyes and nimble fingers merged gorgeous colors and textures to the stone base. The contrasting openness of the top and cozy enclosure at the bottom make the piece immenently approachable. Ironically, it's the wobbly rock that creates instability in this piece, while the ordered structure of the weaving helps bring it back to balance.

Note: This sculptural basket rocks ... on the rock! It's very fun to interact with.

Shows the rock on the bottom that allows the piece to rock - so the piece is upside down in this photo.

Tiny Treasures is an annual tradition organized by Marjin Wall! This year's contributing artists: Sally Ault, Kailee Bosch, Arielle Brackett, Owen Lowe, Jason Nemec, Laurent Niclot, Tom Willing, Kimberly Winkle. Size: 22" x 13" x 3.5". Tom constructed the hanging wall shelf to display the Tiny Treasures. The work, from bottom left to top, are by: Owen - turned alabaster with African blackwood tea light candle holder; Tom - wild burl; Arielle - bronze, powder coating paint vase; Sally - turned maple and fan coral box; Tom - tiny chalice; Kim - carved and painted box; Kailee and Laurent - tiny blue box that holds a brush surprise; Jason - black locust, maple, fire, pigment, wax.

Jason Nemec - black locust, maple, fire, pigment, wax.

Kailee Bosch and Laurent Niclot - tiny blue box that holds a brush surprise.

Kailee Bosch and Laurent Niclot - tiny blue box that holds a brush surprise.

Kimberly Winkle - carved and painted box.

Kimberly Winkle - carved and painted box.

Sally Ault - turned maple and fan coral box.

Tom Willing - tiny turned chalice.

Arielle Brackett - bronze, powder coating painted vase.

Arielle Brackett - bronze, powder coating painted vase.

Tom Willing - wild burl.

Owen Lowe - turned alabaster with African blackwood tea light holder.

Owen Lowe - illuminated turned alabaster with African blackwood tea light holder.

John Wirth, Kathleen Krucoff and Julie Johnson. Size: 11"x 7" x 3". Julie made the signature papers with kozo/gampi/cotton and abaca, then sent the sheets to John and Kathleen in Colorado, where all the magic happened! Kathleen created a pierced copper Celtic knot for the box cover - and another one using the ancient technique of chasing and repousse for the box cover. Meanwhile, John employed his fine bookbinding and box-making skills to create this beautifully bound book using the softest goat leather to bind it. He also marbled the brightly-colored endpapers ... and also carved a celtic knot and printed it on some of the signature pages! The wonderfully executed box, with its magnetic closure, is another beautiful piece in its own right.

John Wirth, Kathleen Krucoff and Julie Johnson. Size: 11"x 7" x 3". Julie made the signature papers with kozo/gampi/cotton and abaca, then sent the sheets to John and Kathleen in Colorado, where all the magic happened! Kathleen created a pierced copper Celtic knot for the box cover - and another one using the ancient technique of chasing and repousse for the box cover. Meanwhile, John employed his fine bookbinding and box-making skills to create this beautifully bound book using the softest goat leather to bind it. He also marbled the brightly-colored endpapers ... and also carved a celtic knot and printed it on some of the signature pages! The wonderfully executed box, with its magnetic closure, is another beautiful piece in its own right.

Kathleen Krucoff, John Wirth, and Julie Johnson. Size: 11"x 7" x 3". Julie made the signature papers with kozo/gampi/cotton and abaca fibers, then sent the sheets to John and Kathleen in Colorado, where all the magic happened! Kathleen created a pierced copper Celtic knot for the box cover - and another one using the ancient technique of chasing and repousse for the box cover. Meanwhile, John employed his fine bookbinding and box-making skills to create this beautifully bound book using the softest goat leather to bind it. He also marbled the brightly-colored endpapers ... and also carved a celtic knot and printed it on some of the signature pages! The wonderfully executed box, with its magnetic closure, is another beautiful piece in its own right.

Materials: Goat leather, copper, magnets, steel, handmade paper, paint, ink.

John Wirth, Kathleen Krucoff and Julie Johnson. Size: 11"x 7" x 3". Julie made the signature papers with kozo/gampi/cotton and abaca fibers, then sent the sheets to John and Kathleen in Colorado, where all the magic happened! Kathleen created a pierced copper Celtic knot for the box cover - and another one using the ancient technique of chasing and repousse for the box cover. Meanwhile, John employed his fine bookbinding and box-making skills to create this beautifully bound book using the softest goat leather to bind it. He also marbled the brightly-colored endpapers ... and also carved a celtic knot and printed it on some of the signature pages! The wonderfully executed box, with its magnetic closure, is another beautiful piece in its own right.

Materials: Goat leather, copper, magnets, steel, handmade paper, paint, ink.

John Wirth, Kathleen Krucoff and Julie Johnson. Size: 11"x 7" x 3". Julie made the signature papers with kozo/gampi/cotton and abaca fibers, then sent the sheets to John and Kathleen in Colorado, where all the magic happened! Kathleen created a pierced copper Celtic knot for the box cover - and another one using the ancient technique of chasing and repousse for the box cover. Meanwhile, John employed his fine bookbinding and box-making skills to create this beautifully bound book using the softest goat leather to bind it. He also marbled the brightly-colored endpapers ... and also carved a celtic knot and printed it on some of the signature pages! The wonderfully executed box, with its magnetic closure, is another beautiful piece in its own right.

Materials: Goat leather, copper, magnets, steel, handmade paper, paint, ink.

John Wirth's hand-marbled endpapers.

Kathleen Krucoff's pierced copper work on the cover of the box.

Kathleen Krucoff's chasing and repousse copper work on the cover of the book.