The Story Behind the Work

I make furniture for people who want more from their homes than function alone.

My work sits between architecture, sculpture, and the older traditions of cabinetmaking. Each piece is designed and built by hand in my Kerikeri workshop, using solid timber, considered proportions, and joinery that is intended to last beyond a single lifetime.

I am interested in furniture as a form of permanence, and objects that gather family, hold memory, and become part of the emotional fabric of a home.

I grew up around practical men who could make things with their hands. My father and Poppa worked in humble sheds, where repairs, tools, and small acts of making were part of ordinary life. I did not understand it then, but those early spaces gave me my first sense that objects could carry importance and care.

The real turning point came when my young family and I found ourselves surrounded by the kind of disposable furniture that fills modern homes quickly and leaves them empty of meaning.

Around that time I read William Morris’s News From Nowhere. It gave language to something I already felt: that work should have dignity, that objects should be made with care, and that beauty belongs in ordinary life.

I began building in a small shed with hand tools. At first it was practical. Over time it became a refusal of the idea that furniture should be temporary.

Timber is not only a material to me. It is a living record of weather, soil, age, stress, and growth. But I do not simply let the tree decide the work. I bring it into conversation with geometry, proportion, architecture, and restraint.

The aim is not to make rustic furniture. The aim is to make resolved furniture, pieces where the natural life of the timber is disciplined into form.