I am a sculptor and furniture maker who has been producing hand-made, one of a kind works of art in wood for over 45 years. Inspired by European Art Nouveau and the 20th Century Studio Furniture Movement, I have carved out my own unique blend of fancy and function. My furniture is designed to evoke the passion of art while adhering to the most exacting standards of sound engineering.

Allow me to introduce you to the essence of my work and the sources of my inspiration.

Organic forms from the natural world

Rock in a Vermont river carved by water over millions of years

Nature loves curving lines, Irregular shapes and rounded edges. In the natural world there are no straight lines, geometric forms or sharp corners. Man created the flat surface and the square box because they are simple, efficient and utilitarian. But rectilinearity is also boring, static and without feeling. In my work I borrow the curving line from nature because it conveys emotion – excitement, tenderness, danger,whimsy. It is infinitely variable and each nuance whispers a different message. It speaks of movement, like flowing water or a running animal. It is going somewhere.

The magic of wood

Tornado fireplace surround in American Black Walnut

I choose wood for the principle medium of my work because it is the epitome of organic form in its infinite variety of grain, texture and color. For centuries people have been beguiled by the feel and smell of wood. Despite the genius of modern technology, it has never been replaced by synthetic materials.

Sensuality of the curving line

Perceptions II mirror in African Mozambique

The curving line is beautiful because it has grace, motion and power. It evokes the sensuality of the soft curves and serpentine lines of the human body. It embodies the flowing movement of ballet dancers or the lilt of a haunting melody. It soothes like the ebb and flow of waves or the rush of water in a stream. It captures the universal magic of femininity. I use the curving line in my designs because it connects us with nature, with ourselves and with our feelings.

Breaking the rules – the excitement of asymmetry

Matador chair in Maple

Asymmetry is another feature of the natural world. It may be a little messy but it is playful, daring and provocative. It challenges order. It takes risks. Symmetry, existing only in the man-made world, is safe, neat and dull. I use asymmetry in designing because it catches the eye, shakes up our sense of control.

Breaking the rules – defiance of gravity

Touch & Go I in African Mozambique

Gravity is a natural force that we spend our lives conquering. We learn to control its power by keeping our two feet planted firmly on the ground. We fear tripping, falling, heights. Yet we are exhilarated by flight, the ultimate challenge to gravity. This issue: safety vs. risk, is a close cousin to symmetry vs. asymmetry. Objects which are asymmetrical are imbalanced and may fall. But like the bird or the acrobat, with skill we can master the forces of gravity. In my work I frequently recapitulate this fascination with the control of gravity because it is so fundamental to our lives.

Playing with Illusion

Levitation I Coffee Table in African Kevazinga Veneer

The three separate segments of the pedestal appear to be detached and floating away into space. Are they?

Reality, like symmetry and straight lines, is boring. We dream about exciting adventures to help us escape from reality. Fantasy and humor are tools we use to lighten our drab, everyday existence. Furniture has to be designed to perform its function well or else we throw it out. But it can function well and also be fun. Practical furniture can be playful and have a sense of humor. And so it is that in some designs I play with illusion, create secrets or deceive the viewer with a trick – all in good fun.

Art designed to be touched and used

Gyro Foyer table in American Black Walnut

In the lobby of the Park Hyatt NY

Something that is useful can also be beautiful. Pure form, as represented, for example, in a piece of sculpture, has three dimensions. Its beauty is purely visual. My work has a fourth dimension: the pleasure of touch. How sensual to our hand is the smooth, gently curving surface of a well-polished chair arm. Museums, designed to offer visual experiences only, forbid touch. I invite it. My work also has a fifth dimension, the satisfaction of use. An object, like a favorite chair that serves you faithfully over many years, becomes more than a beautiful object. It becomes an old friend.

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