the geologic process of sedimentation is simply explained as the layering of fine filterd sediments that settle out from prehistoric bodies of water over milenia. Over time, much time, layers that represent specific events of time leave a resulting contrasting layer of material that when adding pressure and heat form a rock formation. This collection takes directly from this geometry and transformes it into formed cast concrete. A wax finish is embedded into the textures using a high temperature flame. Slotted into the base are fins of burnished bronze.

A fundamental law of nature is “all biotic and abiotic material exists in a wondrous, chaotic, and continuous flux through time”. We know this law as change. At a certain scale change can be observed though most of life’s movements happen too slowly for our senses to notice, or for us to live long enough to witness. Our brief human lives are just too short. For example, the sedimentation of minerals into layers which when influenced by weight and pressure, in time, solidify into hardened material we recognize as stone. a process way too slow for us to rally comprehend even as we are surrounded by it every day. Another example is the oxidation of metal alloys. This patina is happening on an atomic scale with its constant loss of electrons, but the shift does happen at a pace where we can witness and ponder. As these steel sculpture’s atoms constantly shift from the a neutral state to positively charged ions, producing the visible rusting, so to are these puzzle panels in a continual transition that will out last our brief time.

Made on a Vermont farm in collaboration with a close friend these ceramic vessels are made using traditional Japanese glazing and firing techniques to produce the rich tones and textures making each one unique and the essence of Wabi-Sabi. Sizes and textures vary and can be made at custom heights from 12" to 38”.

The symbolism of these monoliths is as conspicuous as is the simplicity in form. The applied principles are gingerly gleaned from the iconic shapes of contemporary architecture and structural engineering so commonly seen in city landscapes. Scale of proportions are crucial to the integrity and esthetic, yet the walls of each side provide the canvas where each piece’s story unfolds. Even the top, which may be too high to see, is an utilized opportunity.

Referencing the shape of historic tools used for hunting and battle these interpretive floor lighting pieces have a weight to them being fabricated with 1” thick metal alloy. The works are available in various finishes and all are commissioned so lengths are customizable.

The task of gathering branches and bundling them together for transport is still a common utilitarian practice mastered by countless generations. Humans are not the only gatherers of twigs and branches. Most species of birds and other mammals such as the beaver are also masters of this practice and their constructions are often breathtaking. The functional randomness of these woody constructs are transposed into a sculptural lighting piece made from porcelain clay. Each branch is tipped with a flame of gold glaze as if the inner workings of these white branches were bleeding golden sap. The glowing bundle is bound tight with raw animal hide to synch all the free elements together. Each piece is truly unique in its volume and application.

Conceived by reimagining scrap pieces of extruded foam board left over from other projects. The resulting sculptural organic shape were originally translated into a plaster mold by which a ceramic slip casting is made. A glaze and then the traditional raku firing method was used. Or more recent pieces are created from a cast concrete with a high heat applied wax finish. These objects have a geometry and finish that approximate constructions from an un-discovered civilization, and then un-earthed after a millennia. Yet the concept and assemblage is very much grounded in 21st century materials wedded with ancient alchemy and engineering. Blurring the lines between what is old and new. Limited edition of 25. Commissions are available.

Working with stone has been a creative goal i have longed for so this project is my first entry into it. With the seemingly infinite mineral combinations and countless applications stone has the challenge was more about the discipline with my choices and intentions. This collection is an effort to examine the relationship between stone and the tools used to shape it. Blocks directly sourced from the quarry and shaped with 4 foot circular cutting blades make plunging cuts to create the geometry. The resulting series of fins, the once robust block is now fragile and will snap apart with arbitrary ease. The result is a unique piece each time after using the same technique and process.

Born out of the Konkuri Blok collection, the Foundation work moves from shapes resembling columns in building to subterranean walls that buildings sit on. A clear glass top enables the negative space and the interior walls to be additional elements in each pieces story. Various interpretations are explored, each having their own story to share.

Sand-cast plates from molten recycled and reclaimed aluminum, each having the qualities and variations I search for, are welded together and then polished to a perfect imperfection. Natural voids and “dis-colorations” which are a natural aspect in the casting process, are trapped in the pieces decisive and balanced simple form and dimensions.

A natural progression and methodology of my explorations continue to highlight historical construction techniques and practices. Appropriating the elegant Mortis and Tenon joinery, so fundamental for woodworkers and builders, is the latest example. The simplicity, functionality, and beauty of this joinery technique retain it’s relevance amongst today’s modern advances in structural engineering, and material design. This collection applies the technique to plates of steel and aluminum, weighing up to 42 pounds per square foot. Each plate is precisely cut so that they fit together without force or manipulation, and once the sections are positioned together, gravity takes over to lock the sections in place. Nothing more than that.

An upholstered version on the Konkuri Blok collection where the panels of suede and leather mimic the visible patterns seen in the concrete. Reimagining a hide with it’s natural imperfections and “grain”, panels are stitched together to highlight their wonderful imperfections.

The power and beauty of using common place “KI”, translates to “tree timbers” in Japanese, repurposed or new, with all their natural checks and imperfections are the focal points for this collection. Under the outer veneer where the bulk of time-marinating took place is a layer that still tells their story yet in a dressier more contemporary fashion. Nail holes, stains, and “checking” all provide clues of their battered lives, but the smooth oiled surface and straightened clean lines give the beams new grace and new life. Paired with these dynamic beams are a set of refined alloy legs in various options. Nothing fancy here, honest intention gives these beasts of burden a new day.

The skilled use of chemistry and material imperfections, being knowledgable of the constant change from weathering, and the anticipated tonal variations, plus it’s “plasticity” makes concrete a popular choice that aligns well with my design principles. Admiring the unanticipated geometry created by the forms used in the construction of a building’s skeleton and also present in Mondrain’s geometry combine to be the inspiration for this collection. The penetrated legs of bronze or steel wed the rough and refined in a delicate yet committed relationship.

A foundation principle of my creative expression has always been to “remove and simplify”, so here again this collection was visualized after both the Plate Leg and Open Leg series as a response to work that felt still to encumbered and bulky. An intentional attempt to “lighten” and simplify even more resulted in the elegant minimalist Stik Leg. Here deeply grained wood tops have replaced concrete to further switch gears from heavy and bold toward delicate and frail.

With homage to the Plate Leg collection, which came first, the motivation and challenge was to “open” up space and generate more dynamic flow through the piece while retaining the same honest and sexy slim proportions and principles. This time the elimination of excess material is accomplished by carving out as much of the plate as possible.

Having absolutely no background or experience with furniture design I began the journey in 2004 with this original collection by generating a list of descriptive words to use as guiding principles. I was searching for words that would resonate with my point of view, and life experience. Words such as dynamic energy, organic elements, and clean intentional lines. The challenge was to pare down the design variables to their simplest and purest expression while simultaneously creating dynamic energy. The specific material pallet was not yet decided and the obvious use of wood to some was not so obvious to me. Concrete on the other hand was a material that I had been working with for a few years and had experienced its creative potential. Concrete also fit into the language I was looking for so it was a natural place to start. The opportunity next was to find the right pairing for it. Steel sculpture and its use in architectural applications had always generated an emotional response, so simply stated I now had my pallet. The resulting synthesis of these heavy “industrial” almost raw materials expresses an aesthetic that encapsulates my vision. My choice to use concrete as the top (horizontal) and steel as the base (vertical) created a dynamic energy because their engineered qualities of extension and compaction were being ignored. The illusion is effective and bold.