My Story

For me the creative process involves both intuition and mindfulness. Without intuition, art can become contrived and over worked. Likewise, without mindfulness art can fall into unreasonable chaos. Everything I make is one of a kind. Just as no two trees grow exactly the same way, no two spoons are carved the same. All of my timber-ware is fully functional but also dances on the line of pure form and pure function.

Spoons

My process for carving spoons is simple. I use only scraps that others consider “waste.” The bowls for all my spoons are hand carved using various gouges and knives. After the bowls are cleaned up shaping is done with hand tools as well as power tools. Everything is eventually hand sanded and finally sealed with a mineral oil/ beeswax mixture.

Strings

Music has always been deeply important in my life, as both a listener and a performer. As my art has grown, I realized that I needed to include the visual arts in my embrace of music. The single stringed Diddley Bo was a natural starting point in my exploration of the instrumentality of sound. The uncomplicated nature of this instrument allows broad accessibility. It is said that music is the “universal language.” While no single language is universal, pure communication lies in the play between sound and object. Beauty is a sensory activity. Sound is more than audible; the waves penetrate our very being and begin with a single heartbeat. An object's beauty resonates optically and tactually. Sensory fields interweave.

Sound and object together communicate a universal beauty. The objects I use are individual and seek liberation. Just as Michelangelo sought to free the essential spirit from the block of marble, I intend to let the inner soul of the object speak. Whether it be rough cut wood, a rusty old tin box, or even a floorboard from an abandoned barn, everything has a voice. The oldest objects seem to relay lifetimes of experience. Everything is precious.

“Music in the soul can be heard by the universe” -Lao Tzu

Portrait