It was 1985 when I turned my concentration away from years of intensive schooling, and directed my focus to the pursuit of making fine pieces of furniture. Though it was much earlier, during the time I spent with my grandfather as a child, that the desire to express myself through the creation of lasting works was aroused. I hold dearly to vivid memories of learning from him as he practiced his European-taught cabinet making skills with an aura of patience and perfectionism that produced beautiful pieces of furniture which still stand firmly against the eroding tide of time. Many years have passed and hundreds of pieces have taken form under the direction and skill of my hand. Yet, in each piece there is an integrity that provides me with a sense of fulfillment, gratification, and the hope that my grandfather would have been proud.
Though most of my woodworking efforts are directed toward the provision of commissioned pieces, I have taken advantage of breaks in my schedule to produce a small body of speculative works. While I think that they defy an exact categorization, the voluptuous forms that each possess, reveal my romantic leanings. As I look to history with a nostalgic eye, I live in the present with the same constraints that ask all of us to balance the ideal with the pragmatic. Even as form remains the contented bedfellow of function, it cannot completely ignore the alluring proposals of economy. Straight, masculine lines find themselves within the nurturing embrace of curvacious, feminine structures as the arrangement of their coupling ensure a strong and lasting union.
Beyond the metaphors is the hope that my creations will convey to others a palpable and visceral notion of quality and lasting beauty. Ideally, viewers will be inspired to closely examine and explore the subtle details; to look and feel inside and underneath and be convinced that beauty is more than skin deep; and to be sufficiently moved by their perceptions that they will wish to own a work of such quality and treasure it for the contribution it makes to their lives. In some respects, I hope that these pieces can transcend the role of their function and the label of craft so that they can be regarded as art and be afforded the same care and respect as bestowed upon anything else of that distinction. In this same vein, it is important to me to know that the care and respect that permeate my use of these natural materials is adopted by those who live with these pieces and serves to counteract the waste that pervades the disposable nature of today's economy.