Circle Factory :: The works of George Peterson

publications

Shy Boy, She Devil, and Isis, MFA Publishing, 2007

Pursuing Excellence, The Center for Craft, Creativity and Design, 2007

Connections: International Turning Exchange, Wood Turning Center, 2005

500 Wood Bowls, Lark Books, 2004

"New York Times Magazine," Home Design, Fall 2003

"American Craft Magazine," October/November 2002

Scratching the Surface: Art and Content in Contemporary Wood, Guild Publishing, 2002

Challenge IV-Roots: Insights and Inspirations in Contemporary Turned Objects, Wood Turning Center, 2001

"American Craft Magazine," February/March 2000

"Turning Points," Summer 2000

"Cote Ouest," February/March 2000

Style Brut, Flammarion, 1999

public collections

Mint Museum of Craft + Design

Boston Fine Arts Museum

Wustum Museum

Woodturning Center

selected exhibitions

2008

Solo Show, del Mano Gallery, Los Angeles, CA, May

Texture: George Peterson and Caleb Seiman, OK, Los Angeles, CA, May

SOFA NY, del Mano Gallery, May

George Peterson and Silvie Rosenthal, Signature Shop and Gallery, Atlanta, GA, October

SOFA Chicago, del Mano Gallery, October

Wintershow, Greenhill Art Center, Greensboro, NC, December

2007

Shy Boy, She Devil, and Isis, Boston Fine Arts Museum, October

SOFA NY, del Mano Gallery, May

Pursuing Excellence, Blue Spiral 1, Asheville, NC, March

2007-a, La Fontsee Gallery, Grand Rapids, MI, January

2006

Solo Show, Signature Shop and Gallery, Atlanta, GA, November

SOFA Chicago, del Mano Gallery, November

Turned and Sculpted Wood, del Mano Gallery, Los Angeles, CA, June

SOFA NY, del Mano Gallery, May

Smithsonian Craft Show, Washington DC, April

Wood Now, Craft Alliance and Wood Turning Center, March

2005

SOFA Chicago, del Mano Gallery, November

One, La Fontsee Gallery, Grand Rapids, MI, October

Five by Five, Signature Shop and Gallery, Atlanta, GA, September

SOFA NY, del Mano Gallery, May

2004

Wood Fired, W.D.O., Charlotte, NC, December

Whole Grain, Special Exhibit, SOFA, Chicago, IL October

Four New Visions, Gallery North, Setauket, NY, October

George Petereson and Molly Doctrow, Focus Gallery, Asheville, NC, August

2003

Wood Currents, Andora Gallery, Carefree, AZ, December

One Step Back, Two Steps Forward, Patina Gallery, Santa Fe, NM, October

Nature of Craft, Craft Alliance, St. Louis, MO, January

2002

George Peterson and Mathew Fine, Andora Gallery, Carefree, AZ, December

New Talent in Craft II, Wustum Museum of Fine Arts, Racine, IL, September

Turned and Sculpted Wood, del Mano Gallery, Los Angeles, CA, August

Branching Out, Ellipse Art Gallery, Arlington, VA, April

2001

Masters of Turned Wood, Snyderman Gallery, Philadelphia, PA, August

Sculptural Invitational, Blue Spiral 1, Asheville, NC, May

A Way With Wood, Signature Shop, Atlanta, GA, April

Diversity and Exploration: New Forms in Wood, R. Duane Reed Gallery, St. Louis, MO, April

Turning Wood, Painting Landscapes, Upstairs Gallery, Tryon, NC, April

Turned Multiples II, Woodturning Center, Philadelphia, PA, Craft Alliance, St. Louis, MO,

Saskatchewan Crafts Council, Saskatoon, March

2000

AllTURNatives, Berman Museum of Art, Collegeville, MD, August

grants and honors

Excellence Award, American Craft Council, February 2008

Crafters’ Choice Award, Smithsonian Craft Show, April 2006

Crafters’ Choice Award, Smithsonian Craft Show, April 2005

Excellence Award, American Craft Council, February 2004

Regional Artist Grant, North Carolina Arts Council, January 2004

Crafters’ Choice Award, Smithsonian Craft Show, April 2002

ArtPark, Oak Hill Project, outdoor sculpture installation, May 2001

Regional Artist Grant, North Carolina Arts Council, January 2001

Resident, International Turning Exchange, June-August 2000

excerpt

“...George Peterson’s scorched turnings of unrefined chunks of wood draw attention to the nature of the turning process and to the primal character of wood by presenting both in a fashion which in other circumstances might be seen as a grotesque mistake. By violating ordinary rules, Peterson reveals a view and unexpected beauty. He records his process as an interactive dance of energy and resistance in which something of discord plays a leading role. Controlled danger and power are intrinsic to turning and, therefore, implicit in even the most refined turned objects. By rejecting pre-ordained from and absolute control, Peterson makes process an explicit part of the content of his work. The work, though, is not simply about turning, it suggests a context in which approximations, accidents, and irregularity have a positive meaning, a world which rewards boldness and simplicity.”

— Robin Rice, “A Fruitful Balance Between Influence and Originality”