We are not just turning wood,
we are passionate woodturners

We are woodturners who both share a passion for working with wood. We work together and support each other. 

As a team we divide our woodturning time between -

• Making - much sought after designs, one off pieces and production items.

• Teaching - both the craft and philosophy of modern woodturning

• Demonstrating - woodturning to a variety of audiences

• Writing - about the woodturning field.

• Learning - from established masters of Woodturning who have come to our workshop.

All of these activities reinforce the other and all lead to our continuing search for knowledge, not only within woodturning but within the decorative arts field as a whole.  We describe ourselves as students of woodturning and we are constantly adding to our knowledge as we explore this very exciting woodturning field. Our philosophy is not to simply ask HOW? but to ask WHY?. Once you know the why, you can always figure out the how.

This philosophy is best summed up by a quote from W.B. Yeats:

“Education is not filling a pail, but lighting a fire”

—

READ OUR PROFILES BELOW

Ambrose O'Halloran

Woodturning maker, demonstrator, teacher and internationally published woodturning scholar.

Since I began woodturning in 1993, I am interested in craft education and in its purest form. The philosophy I follow is best summed up by a quote from W.B. Yeats “Education is not filling a pail, but lighting a fire”.

First and foremost, I am a maker. I make both functional and bespoke artistic pieces. I believe strongly that craft is the bridge between technology and art. This is the essence that I want to bring to my work.

My teaching is informed by both explorations in my own work, and from writing on topics within the woodturning field.   I believe the woodturning field is truly International.

If a craftsperson wants to be accepted within the world woodturning community, the standards followed should be international standards.

Writing about woodturning allows me to explore specific aspects of contemporary woodturning and almost all of my published articles have been published by the former International Woodturning Centre in Philadelphia USA (now Centre for Wood Art).

I have demonstrated within Ireland and the UK. When engaging with an audience, I try not only to demonstrate the specifics of the craft of woodturning, but also to have a dialogue on what it means to be a committed craftsperson in a technological age.

Craft always needs to evolve, and in the 21st Century I believe that makers need to think deeply on what it is to be a craftsperson. The question of what really constitutes a handcraft is a very deep one, and needs careful analysis and debate.

Without a deep insight into the philosophy of the craft, any maker only possesses motor and dexterity skills. For craft to have real meaning and depth and relevance, it needs to have soul.

All of these facets – making, teaching, writing and demonstrating reinforce each other and help to make me a better maker, a better teacher and, most of all, a better student. That is how I describe myself, I am a true student of the woodturning field.

Brid O'Halloran

Woodturning maker and teacher, specialising in bespoke, mixed media jewellery

I began woodturning in 2000.  I make functional items and one-off pieces of jewellery. 

I make small pieces because I am interested in exploring the shared qualities between woodturning and jewellery and use small pieces of wood with an interesting grain.  I love to bring out the best in the wood and each piece of wood is carefully selected to suit the piece I want to make.

As I work, I enjoy revealing the unique beauty of each piece of wood.  Each piece of wood is unique and always amazing.

I also like creating pieces from plain woods to which I can add interest with colour and texture.  My pieces have a visual interest for the viewer and, often hidden on the back of the piece, is some little detail put there for the wearer's enjoyment only.  Most of the pieces are made from native Irish woods, but I also use some exotics to add interest and contrast.  I have recently started to incorporate sterling silver into my work, which has opened up a new avenue of exploration.  All my pieces are finished with high-quality silver findings.

Working with small pieces means there is very little room for error.   Each curve must flow and I always try to have a balance between the plain wood and the added pattern, texture or decoration.