Hayden Hays Gallery

Biography

Robert Gray's Colorado heritage is deeply invested in each vessel coming from his studio in Buena Vista, Colorado. The Continental Divide of the Rocky Mountains and the Upper Arkansas Valley have provided a spectacular backdrop for his 30 years of wood working. Robert's interest in wood began while studying for degrees in forestry and industrial arts education at Colorado State University. In 1972 he established the Woodworking Program for Buena Vista Public Schools and in 1978 opened a fine cabinetry shop which he continued for 13 years. Periodically he works with the Colorado Division of Wildlife. He built and ran the Trembling Aspen Gallery and Studio in Buena Vista for ten years where he continued to improve his turning techniques and forms for his aspen vessels. These interests in the natural history and aesthetics of natural woods, as well as his dedication to hand craft eventually led Gray to dedicate himself to his long term interest in woodturning. As his commitment to woodturning grew, Gray expanded his craft through studies under a number of nationally recognized turners, including Rude Osolnik of Kentucky's Berea College, Dale Nish of Brigham Young University, Richard Raffin of Australia, and Michael Peterson of Washington State. An avid trout fisherman, and past president of a Trout Unlimited chapter, his philosophy of catch and release fishing is compatible with his policy of never cutting a living aspen for his work; his vessels come only from windfall trees. Gray's finely sculpted vessels are individually created from carefully selected aspens downed by the Rocky Mountain winds in the nearby forests of his native Colorado high country. He follows a meticulous multi-step procedure that includes a lengthy curing process to prevent cracking, ranging from 6 to 12 months, producing a very stable vessel. Aspen presents a challenging paradox. Technically a hardwood, it is relatively soft yet has great strength due to its long fibered structure. Although this presents sanding problems, Gray's surfaces are flawless satin and he exploits the wood's natural strength and resiliency to achieve extraordinarily delicate vessel walls. This artist's exquisite, tactile vessels are surprisingly light and lyrically translucent, exploding with the colors of natural aspen that range from the subtle to the dramatic. These ongoing explorations of vessel form respond to the unique character of each piece of wood. Robert synthesizes his unique artistic sensibilities with a deep appreciation and knowledge of wood and expert technical skills. “Early in the turning process I determine the shape of each piece as the color and grain dictate its potential to me. No two of my vessels are the same.” “As I work into the core of the wood blank, the inner tree is revealed. It excites me to discover the grain and color and the patterns of the wood.”