Furniture Philosophy

I believe that fine furniture should itself be functional art. It must be beautiful so that it is noticed and appreciated. It must be comfortable and practical so that it is a pleasure to use. It must be durable because it is an investment in a valuable and limited resource. The reason that I build furniture is that it provides an outlet for me to express myself artistically. My desire is to be inspired by nature and natural human form and functionality in the expression of my art.

The furniture I design is inspired by classical and modern art forms in sculpture, architecture and of course the furniture of others. As a reference I am particularly drawn to the work of James Krenov, Hans Wegner, and George Nakashima - to name a few. Another major influence for me is the observation and interpretation of nature and natural forms hewn from the forces of both growth and entropy. A gnarled 1000 year old Juniper tree or a water eroded rock shelf both contain elements that I see translated into vertical supports and overhanging edges of furniture.

I live in a breathtaking environment of glacier capped mountains and snow fed streams and I spend a lot of time outside absorbing the beauty of this space. Thus following from this influence, I feel that letting the natural character of wood present itself as part of the spirit of the piece is respectfully appropriate. To this end you will see character marks such as knots, inclusions, and even the occasional lead slug prominently displayed in many of my pieces. As George Nakashima says, I am letting the soul of the tree express itself.

One particular design principal I've come to embrace more and more lately was made popular by N.G. Herreshoff, a brilliant yacht designer and builder active from 1890 to1920. He carried a theory that the most attractive shape to the human eye was that of a curve with changing radius, in his case typically a yacht hull. This visual phenomenon can be witnessed in the seductive shape of the female form, in the hemi-parabolic decent of a waterfall, or the muscular haunch of a crouching feline. I routinely project this natural form in many of my pieces from pouncing tables to luxurious legs and subtly curved table edges. I find that straight lines are often harsh and unnatural and that subtle curves soften and bring life to a piece. I find these natural shapes also effectively serve to catch the wandering eye and bring awareness to a familiar piece that has been in your environment for years.