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Using a Holtzapffel ornamental lathe tocut the fa ceted designs, M. Dale Chasemakes small boxes from many exotic materials,including these, left made of Hondurasrosewood, pink ivory wood, African blackwoodand ivory. Robyn Horn's 'RedwoodGeode, ' below left, allows the exterior ofthe burl to remain naturally rough, incounterpoint to the finished vessel turnedon the inside. Bob Ingram turned a 48-in. ­dia. disc Of bird's-eye maple for the topof his post-and-bracket-style dining table,below. The tapered legs are turned bubinga.After turning a simple ebony vessel, right,Frank E. Cummings III inlaid two bands ofivory with 14K-gold accents. He thencarved a delicate openwork pattern aroundthe top, allowing it to distort and create alace-like effect.One of the loveliest objects in the exhibition is by Frank E.Cummings III of Long Beach, Calif., who produced a cup of arrestingbeauty he calls "Ebony Lace," shown above, right. This is a stemlesscup that flows into a remarkable band of wavy, lacy carvingaround the lip. Around the base and lip, Cummings applied bandsof ivory, overlaid by a balustrade of fine gold rods. The bandsbreak up the flow of figure within the Macassar ebony, but thecoloration is so strong that the eye cannot help being drawn upfrom the solid turning into the delicately carved fretwork.Despite the kaleidoscopic range of styles and aesthetics in theITOS, one turner's work appeals directly to my tastes. The architecturalturnings of Gail Redman, right, embody all the truths of theturners u-ade: the simplicity and beauty of wood are unadulterated bya finish of any kind. 111e results of cutting edge on wood are leftnaked for inspection. And, the spongy, truculent redwood the SanFrancisco, Calif., turner chose maintains sharp, crisp corners and surfaces,and it bears not me slightest blemish of catch or tearout or anyhint of an unsure hand. What is on display is noming less man completemastery of a craft:. To me, mis is what turning is all about. DArchitectural turner Gail Redman 's turned balustradeand newel post, below, shows the criSpand clear tool marks of a deft touch, difficult inthe soft redwood she used to make the turnings.Michael Podmaniczky is a contributing editor to FWW and a furnitureconservator at The Winterthur Museum in Winterthur, Del.For ITOS schedule information, contact the International SculptureCenter, 1050 Potomac St. NW, Washington, D.c. 20007. TheITOS catalog, with pictures of all the exhibit pieces, is availablefrom the Wood Turning Center, Box 25706, Philadelphia, Penn.19144, /01' $32 ppd. (sojtcover) or $43 ppd. (hardcover).Photos: (>1988 Eric MitchellJanuary/February 1989 85