These braces were made of honduran mahogany; it was an experiement that worked. Normally, Sitka Spruce is the brace wood of choice, but with all the stress mandolins are under, I reasoned a dense, open-pored vertical grained mahogany would add a dimension of stiffness to this “flat-top” instrument. This mandolin has all the vocal range and projection of the famed archtop F-5.
This table was constructed in 2016 from Northern California English Walnut that had been grafted to Claro Walnut and displays what I like so much about Walnut: it’s character in grain, color, spalting and figure. A beautiful representation of what Nakashima called “The Soul of the Tree”. It now resides at the Hong Residence in Southern California. The bow-tie is California Red Eucalyptus and is full-depth, entirely cut by hand.
Now for the hand-work. Probably my favorite part of sculpting, is chiseling away pieces and parts to create movement and fine-tune the shapes. Definitely helps to be able to lay the work down on its side and rotate it to get to challenging places. This piece will have a chiseled texture, heavier in some areas and more subdued in others. Best part of my day is when I can get lost with handwork.
This is one of two matching consoles for a family in Los Angeles. The pieces were done last Fall and I just received this image taken by the client in its final place. The species of Maple, Ambrosia, is so named because the Ambrosia Moth lays its eggs in the the tree bark and the larvae delve deep into the wood and discolor the wood in striking patterns and colors.
This is a project that was designed and built by myself and Eric Faggin of Redwood City, CA. It’s inspired by the classic “Les Paul”, but it has some interesting design elements. The Honduran Mahogany body is one solid piece that has been routed out entirely, leaving a 1/2” rim all the way around it with thicker areas at the neck block and tail block locations. The back has been arched and graduated as well as the solid maple top. It is a true hollow-body electric. Excited to begin the finishing process and finally put it together and plug it in. w
The detail of the epoxy filled void. The mussel shells were gathered by the client on the oregon coast and I made them into a “tide pool” in the table.
This is by far the largest sculpture in any medium that I have attempted and although I have done some chainsaw roughing out of smaller sculptures this has given me a good window into the subtle and not-so-subtle art of working with a chainsaw. I’m now at the point of working with less aggressive tooling: hand tools rasps and chisels. Looking forward to seeing this polished and finished. w
Believe it or not, there is a street (well, really a gravel road) in Central Oregon named "Delicious" and it's where some clients built the first Pumice Crete home in the area with some contractors I have had the honor of learning from and building with over the years: Lance Seaber, Earth Ship master; Joseph Johnson of Coyote Carpentry, and Elean Meserve, the purposeful magician. I was given the opportunity to create the cabinetry for the home and this was the very last piece to be installed. Eastern Walnut.
This guitar is based after the Taylor Grand Auditorium and, though I did not launch too far into experimentation, the augment to the bridge (the little wing that swings off on the treble side) helps shape tone down the bar that resides underneath the top transmitting string vibration over the top, as well as adding a delightful visual element overall. Great sounding instrument after I strung it up.
It's been a pleasure to do some sculpting recently in the shop!