THE PROCESS & PHILOSOPHY
& Hearth.
Timber
The Wood Makes
Half the Decisions
One person. One
shop. Exotic hardwoods.
Every piece named. None repeated.
Everything starts at the lumber yard, not at a drafting table. I buy species and particular boards that catch my eye, figure out what the grain wants to do, and build the piece around what the material offers. The result is something that couldn’t have been designed on paper because the wood made half the decisions.
I’m just along for the ride.
I name every piece. Not as a branding exercise — as a rule that no two share an identity. And it’s fun. Iron Cathedral, Dead Drop,Requiem, Recursion — these are titles, not SKUs. If it doesn’t earn a name, it doesn’t leave the shop.
End Grain,the Hard Way
Most of the catalog right now is end-grain cutting boards — thehardest way to build a board and the only one I’m interested in.Mill the hardwood into strips, glue them into a billet, cross-cutthe billet, rotate everything 90 degrees, and glue again. What youend up with is a surface where the wood fibers stand straight up— better for your knives, self-healing under use, and it revealsthe grain structure inside the tree that no other cut can show.
Both faces are finished to the same standard. There is no top and no bottom. Flip it over and you’ve got a second board. The finish is food-safe mineral oil and beeswax, applied by hand.
An Engineering
Brain Making
Art Objects
My background isn't purely aesthetic. I approach the bench with the precision of a structural engineer, seeking the perfect balance between absolute order and organic chaos. I don't use CNC machines
because they remove the dialogue between hand and fiber.
Every joint is a calculated decision; every curve is a response to tension. The bench is where physics meets poetry. I’m looking for that moment where a board stops being a commodity and starts becoming a permanent inhabitant of a home.
OFF THE BENCH
What Else Comes
Off the Bench
While cutting boards are my focus, the scrap from a masterpiece is often too beautiful to burn. I produce limited runs of dovetailed keepsakes, solid-brass-weighted mallets, and workshop smalls that carry the same DNA as my larger commissions.