I create furniture as a form of functional sculpture — work meant to be lived with, handled, and inhabited. My practice is rooted in the clarity and restraint of mid-century modern design, but it is equally shaped by a lifelong fascination with natural systems: geology, biology, growth, erosion, and deep time.

 

I approach wood not only as a construction material, but as a record of place and memory. Every board and every surface carries its own history, and I see my role as making that history visible rather than obscuring it.

In many of my pieces, I use intentional negative space — carved voids, pierced surfaces, and openings that suggest cellular forms or weathered stone. These gestures are not decorative; they are structural and conceptual. By removing material, I highlight the tension between what is present and what is absent, between mass and lightness.

 

I am drawn to woods with stories, including ancient bog oak that has aged underground for millennia. Working with materials shaped by time allows the furniture to hold a sense of quiet gravity, as if the piece has lived many lives before entering the present one.

 

My goal is to make objects that feel both contemporary and enduring — works that support daily rituals and also reward slow looking. I want the viewer to recognize the hand, the time, and the natural history embedded in each piece. In this way, my work is an ongoing conversation between structure and emotion, function and form, the hand of the maker and the memory of the tree.