Creating works of enduring craftsmanship for more than 30 years.

Today, more than ever before in history, it is my belief that the art of craftsmanship is diminishing. The importance of creating, along with the abilities, skills and pleasure that develop from that experience, are fading as a value.

Industry worldwide, places the ultimate priority on production costs, distribution and commerce; product quality has become relatively unimportant.

A handmade object holds ultimate value because of the care, skill and investment of the craftsman behind the work.

Shop production

FABRICATION & DESIGN

Site work

AIRSTREAMS

SD ATTIX

As Malcolm Gladwell explained in Outliers, one of the key components of mastery in any field is simply practicing a task repeatedly for 10,000 hours, until it becomes a skill. That’s roughly 20 hours of practice a week for 10 years. With the multitude of tasks involved in the creation of any given commission, I’d say after 30 plus years of work that I am still achieving mastery. While there is some truth in the 10k Hour Rule about practice, I think there are other equally important factors in the success equation as well. Muscle memory for example, is an important one that can be learned initially. Respect and understanding of material, operation and use of tools and attention to tiny detail are others. But the passion for the craft, the intense desire to create, patience for oneself and a reverence for wood are some of the endowed qualities of a true Craftsman. Coupled with persistence, achieving mastery becomes a possibility, even with long hours, difficulties with weather and scheduling, challenges from equipment and materials, and sometimes uncomfortable and dusty environmental conditions. But the pleasure of planning and designing a piece or installation, the joy of bringing to life a two dimensional drawing, the scent of freshly cut white oak or walnut – these are enjoyments above the pursuit of a skill set.

In an accident not long ago, I almost lost my left arm, though not as a consequence of woodworking, but I wrestled with the possibility that I may have to face a career with only one arm. As terrifying as that sounds, I began to think of how I might go about accomplishing that, accepting the challenge. I remembered many years before, knowing a furniture maker named Mike, who’s work was humble and functional, but very beautiful, considering he actually worked his trade with a single arm. I always had a tear in my eye when I shook his hand or ran my fingers down the lines of his pieces. It certainly wasn’t pity I had for him, but utmost respect. Regardless of circumstance, he refused to stop pursuing what he loved. That passion he had for his work is what I most admired.

I have had some exceptional teachers along the way, some harsh and demanding but teachers nonetheless, and I am grateful. Grateful also, that no matter the difficulty of subject or material, my curiosity was never crushed and the desire to learn still thrives. I still make it an objective to learn something new from each project. It’s humbling to find that much of what is learned in this craft may be new to me, but isn’t really original at all. Perfectly executed mortise and tenon or dovetail joints were sought after skills centuries ago, in a shop probably not far from mine today, by craftsmen with purposes and tools similar to mine. My intention has always been simple: to fashion enduring objects of function and beauty, using the highest standards of measurement, for a discerning customer.

"Our approach is based on direct experience - a way of life and development outward from an inner core; something of the same process that nature uses in the creation of a tree - with one addition; the aspiration of man to produce the wonder and beauty of his potentialities."

George Nakashima, 1962

Contact

A Bibliography of Influences:

Wharton Esherick; Contemporary furniture, building & sculpture, (1887-1970)

http://whartonesherickmuseum.org

James Krenov; Contemporary furniture & author, (1920-2009)

http://jameskrenov.com

Hank Gilpin; Contemporary furniture, landscape & design, (1946-present)

http://hankgilpin.com

Sam Maloof; Contemporary furniture & sculpture, (1916-2009)

http://www.sammaloofwoodworker.com

George Nakashima, Japanese & contemporary architecture, furniture & design, (1905-1990)