b. 1952, Pittsburgh, PA

SELECTED COLLECTIONS

Sam Malouf of Los Angeles, CA

Stanford Firestone of Atlanta, GA

Permanent Collection, Bascom Louise Gallery of Highlands, NC

John and Lynn Darden of Atlanta, GA

Dr. Ernest and Joyce Franklin of Atlanta, GA

Marty and Marcy Freedman of Boca Raton, FL

Alston and Betty Glen of Atlanta, GA

Arthur and Jane Mason, Washington, DC

Paul Neely of Chattanooga TN

Jerry and Margaret Pennington of Sarasota, FL

Leroy and Sarah Simkins of Augusta, GA

Tom and Joan Taylor of Pittsburgh, PA

SELECTED EXHIBITIONS

2005 Wood Exhibition, Highlands Fine Art Center

curated by Arthur and Jane Mason

2005 Solo Exhibition, Atlanta, GA

curated by Alston and Betty Glen

2004 Southern Higlands Craft Guild Show,

Ashville, NC 1997-1996

Summerhouse Gallery, Highlands, NC

ABOUT THE ARTIST

Robin Piscitelli began working in construction as a carpenter following high school and tried his hand as a steelworker until 1982. He then took a job as a crisis intervention specialist and detox counselor. In 1993, he began turning wood after seeing the work of Kentucky wood turner Paul Ferrell. Following his first lesson from Ferrell, he began turning full time as a professional wood turner in 1994. His work has also been greatly influenced by David Ellsworth.

An award winning artist, Piscitelli participated in Fine Art and Fine Craft exhibitions throughout the country. In1997 he began showing his work exclusively through galleries and through private solo exhibitions in Atlanta, Georgia under the support of collectors and curators Mr. and Mrs. Alston and Betty Glen.

ARTIST'S STATEMENT

Although I turn vessels in a variety of styles and forms, I have an affinity for natural edged vessels, most of which I turn green. I find beauty in the wood's imperfections, in the voids, spalting, bark inclusions and worm and beetle holes.

I begin by studying the piece of log in my hands, turning it in all directions and angles, focusing on the irregular bark surface of the material. I continue rotating the log until I see “IT” and then a smile comes to my face. I feel that it is important to be receptive and obedient to the wood’s message to me. Once I have determined what the line of the top of the vessel will be, I can begin to see the piece in its final form. However, from time to time, the form is not revealed until the turning begins.

When I begin, I don’t usually have much of a plan in my mind because I feel that the wood will dictate the direction I should go. I all but ignore the traditional wisdom of proper wood placement or grain positioning that generally ensures maximum structural integrity, minimal shrinkage and the safest attachment to the faceplate (on the lathe). I almost dare the wood to fly apart as it is being turned but it rarely does.

Beginning in the wood yard, a birthing begins to take place. As it does, I aspire to impose as little of my own will as possible onto what the vessel is to become. It is a marvelous and joyful feeling to just tickle and nudge the wood a bit as it spins on the lathe, becoming what IT wants to become.