Clyne, Angus Curriculum Vitae
Angus Clyne is a wood turner living and working in rural Perthshire, producing
wooden vessels and sculptures using native woods from his workshop.
I was brought up on the North West coast of Scotland and being diagnosed at an
early age with dyslexia was never going to have an academic career. Having
originally applied for an illustration course at Carlisle College of Art I was
talked into studying Fine Art. Realising I had made a mistake after a short
time I then spent several years travelling and working abroad doing various
jobs along the way including; joiner/carpenter, professional busker, fisherman
and running my own restaurant.
I eventually returned to my original interest in the arts and combining it
with a long family tradition of woodworking became a professional wood turner
in 1998. I am mostly self taught and have developed my own tools and
techniques along the way to suit my needs. All the wood I use is locally
sourced from windblown or dead trees. It is important to the way I work that I
am involved with the wood from the very start, this influences my decision
making as I continually reassess how best to use the wood.
Over the years I have concentrated on making bowls and vases these have often
been very large thin walled vessels giving priority to form and the natural
grain of the wood. My work today has become more design orientated and is
often carved, distressed and burnt, incorporating other materials including
reclaimed wood, metals and acrylics. By combining the inspiration I get from
my local surroundings with the work I produce I am continually seeking new and
original ways to make a connection between myself, my experiences, the work
and the viewer.
As well as regularly selling through Scottish Galleries my work has been
included in many significant exhibitions over the years. I have a piece of
work in the permanent crafts collection at the Shipley Art Gallery, Gateshead
and exhibited at the Scottish Parliament. I was also chosen to exhibit at the
G8 Summit at Gleneagles in 2005.
SHIPLEY GALLERY - Gateshead, TYNE AND WEAR
13 Hands Touring Craft Exhibition - Highland Council
Eden Court - Inverness
Six Cities Exhibition - Inverness
Scottish Parliament - Highland Year of Culture Exhibition
Cawder Castle Constellation Launch
Affordable Art Fair - Battersea, London
2006 - 2001
G8 Summit 2005 - Gleneagles, Perthshire
Crawford Arts Centre - St Andrews
Swanson Gallery - Thurso
Morven Gallery - Isle of Lewis
Lilly Gallery - Milngarvie, Glasgow
Hunter Gallery - Long Melford, Suffolk
Collins Gallery - University of Strathclyde, Glasgow
Europa Exhibition - Scotland House, Brussels
Art:TM - Inverness
2000 Melvin Firmager - Advanced Woodturning Somerset
1989 Carlisle College of Art
1987 Fort William High School
Awards and Funding
2008 Scottish Arts Council Professional Development Grant to attend Emma 08
Collaboration - Canada
2008 Perth & Kinross Visual Artist Award to purchase equipment
2008 3rd Place - Wizardry in Wood Freestyle Competition - Worshipful Company
of Turners, London
2000 UK register of Professional Turners
2000 Lochaber Ltd & EU Leader Funding to help build workshop and studio,
1999 Scottish Arts Council Professional Development Grant
1998 Lochaber Ltd & EU Leader Business Start up Grant
TECHNIQUES AND FINISHES.
Turning and carving.
All the wood I use is locally sourced, i.e. it comes from farms, gardens and
local forests, it is almost always from windblown trees or trees that have had
to be removed because they are dead, dangerous or have been cleared for new
roads and houses etc.
When the wood arrives at my workshop it is still fresh, wet and in the round.
I usually leave the logs lying outside to age and spalt. Spalted wood has
been attacked by fungus and often has spectacular colouring with distinctive
black lines running through it, when the wood is dry the spalting is stable
and will not change or fade with sunlight.
When I feel the time is right to use the wood I rough it into shape with a
chainsaw before mounting it on my lathe for turning. As the wood for large
vessels is wet and can weigh hundreds of kilos it can take several hours to
get a large piece of wood into my workshop and mounted safely on the lathe. To
turn large work I have had to adapt and make my own specialised tools, these
are all hand held and can be up to five feet long.
All my work is started as wet wood, some is partially turned, then kiln dried
for several months before being remounted and turned to completion. Larger
work, natural edged bowls and vases are often turned to completion from wet
wood then left to dry before being polishing off on the lathe. All wet turned
work will have shrunk during drying and is sometimes slightly oval or
wrinkled. Both these ways of working eliminate the natural tensions in wood
that can cause splits and cracking, this makes my finished work both flexible
and stable, allowing it to cope with changes in humidity from Summer to Winter
as well as stress from central heating and direct sunlight etc.
Some parts of my work is black and textured; this is generally achieved with a
gas blow torch or pyrography machine. After burning it is wire brushed and cut
back to reveal the unburnt wood underneath.
If it is a bowl and you can put something in it like fruit, it is nearly always
finished with Rustins Danish Oil. This is a food safe waterproof finish that
has been applied to the bare wood and built up in layers over several days.
Danish Oil can be reapplied as and when needed (I have not had to re-oil a
bowl in the last twelve years). You can clean work like this with a damp cloth.
If it is a vase it will usually have a paste wax polish on it; I use Liberton
Black Bison Neutral Wax, this is a high gloss finish which shouldn�t need any
further treatments unless it gets wet, water will dull the surface polish and
make it opaque but will not affect the wood underneath. If this happens all
that is needed to bring back the shine is a good rub with a duster, cloth or
kitchen roll. If this does not work a further coat of good quality wax polish
will do the job.