About My Work

I was raised between the dense forests of Washington and the rugged terrain of Idaho, where I developed an early reverence for the natural world—drawn not just to landscapes, but to the quiet complexity within the grain of wood itself. Even then, I was fascinated by how each piece carried its own movement, memory, and pattern beneath the surface.

I began in traditional woodworking, back in high school, learning precision, structure, and discipline. But over time, the rigidity of conventional forms started to feel limiting. Clean lines and predictable designs didn’t fully capture what I saw in the material. That led me to shift my approach—from trying to control the wood to learning how to reveal it.

Today, my work is centered around that idea.

I embrace live-edge forms, allowing the natural contours of each slab to guide the piece rather than cutting them away. Through 2.5D and 3D carving, I bring depth and movement into the surface, letting imagery emerge from within the wood instead of sitting on top of it. Knots, voids, and grain variations—once considered imperfections—have become some of the most important elements in my work.

I also incorporate natural inlays like turquoise, mother of pearl, and alabaster. These materials aren’t just added for contrast—they’re chosen to enhance what’s already happening in the wood, to amplify its natural tones, textures, and story.

My guiding philosophy is simple: the subject has to belong to the material. Whether it’s a western scene, a landscape, or something more abstract, I match the imagery to the grain so that both work together—so the final piece feels cohesive, natural, and intentional.

What I create sits somewhere between woodworking and sculpture. I don’t see it as forcing an idea onto a material, but as uncovering something that’s already there—bringing forward a story that the wood has been holding all along.