“My interest in turning began in 1980 after a boat-building venture with my husband introduced me to woodworking. Unschooled in the “wood arts”, I was drawn to the lathe because turning presented an array of creative possibilities, but within the safe confines of one machine with certain limits.
Boatbuilding also gave me another medium – epoxy, which I use extensively as both a decorative and a structural element. Epoxy has allowed me to create many new forms and effects, and to test those limits usually placed on lathework.
In the past decade, my work has evolved through several stages, from platters to sculptural forms to vessel forms – all using, to some degree, my technique of cutting and reassembly. Although nature has long been an inspiration, I have recently become interested in using design principles to bring a more classic, cultured look to my vessels. Inspiration for the black and white work began with a book of vintage and contemporory handbags. I felt the bold designs and strong geometrical elements would work well in a turned vessel, using line, contrast and texture to create the compositions. Although similar in format, each vessel is different and named to reflect the “personality” I see in it.” (Text from Marilyn Campbell’s website, July 2016) > Marilyn Campbell Resume
- American Association of Woodturners Permanent Collection
- R. Bohlen Collection, Peabody Essex Museum, Salem, MA
- Daniel Collection, UK
- Kamm Teapot Collection, Statesville, North Carolina
- Stephen C. Keeble and Karen Depew
- Jane and Arthur Mason
- St. George Museum of Art, St George, Utah
- Woodturning Center, Philadelphia, PA
- Yamanaka Chamber of Commerce and Industry, Osaka, Japan