I hand-make objects and furniture whose forms draw strong influences from my architectural training. My current work begins with a regular geometric form; a rectangular chest of drawers, for example. These forms, which are complete objects in their own right, are enveloped, suspended and supported by an asymmetrical framework to create a larger narrative and composition. This composition is a presentation of opposites; one part of the composition is regular and orthogonal and is made with traditional joinery and construction techniques while the other is asymmetrical and irregular. These two systems balance each other, with the final composition being more complex and dynamic than either part would be alone.
Each new project begins when I find a piece of wood that displays a character and figure that speaks to me. The physical character, size and quality of the wood begins to hint at the final form of a furniture piece or object. I start the design process by drawing hand sketches in ink on paper, exploring dozens of ideas that are all bounded by the limits of the original piece of wood. Once the idea reaches a high level of three-dimensional complexity and refinement, I further explore and iterate the forms in physical and digital models. I will often move back and forth between these different media as I develop an idea; each change giving a new perspective and informing the next steps in development. I will then move into the wood shop where I hand cut and shape the materials toward their final form, using my earlier studies as a road map. But I always let the material have a voice and allow it to shape the end result of the project.