We all know beauty when we see it. We all know quality when we see it. It’s an unusual phenomenon. How does this work? This congruence doesn’t facilitate throughout perception. Think of political views… we certainly can’t agree on a good political view when we hear it, nor the idea of a “good time”.
There is something so immediate about aesthetics. It hits before you’ve had a chance to think things through. And for something so immediate and innate, how is it so challenging and elusive to make?
So the drive to make comes from this deeper level. Often, my thought patterns are not, “boy, I’d love to make today”, but instead one of neccessity: “I have to make today”.
And so, perhaps part of the design, perhaps the way it should be. Beauty goes deep.
Below are examples of new work from the studio and a quick note about NZ Centre of Fine Woodworking and the struggles they are facing.
Rere
My carving studies have found form in the Rere sideboard. Kerikeri is a waterfall town and I wanted to create a piece that reflects where we live and what inspires me day to day.
Rere is a Māori verb meaning to fly, flow, or run like water. It is often used when describing a waterfall.
The carved details are made using a single gouge and are inspired by the rhythm of falling water.
The entire piece is built from solid timber, sourced locally, right here in Northland. This cabinet was designed to house my client’s earring collection, with the top drawers lined in the finest pig suede.
Do you have a space in your home for a carved piece? Get in touch
Motu
The brief was to create a restrained, yet defined piece that would house some very special audio gear. I wanted interplay and rhythm in the door, without creating an overpowering presence.
Soft yet distinct are words that drove design decisions.
Although designed as an audio cabinet, the Motu is intended to feel less like equipment storage and more like a sculptural object for the room.
A note from my client:
“I reached out to Lloyd in April 2025 with a request for a bespoke unit to accommodate my 1957 Thorens 124 turntable, along with my Luxman amp, CD player, phono, and streamer. Over the course of ten months, we engaged in extensive discussions, planning, and reviewing Lloyd’s designs while incorporating my preferences. By April 2026, I finally received the finished unit, and I couldn’t be happier—it’s a stunning piece made of New Zealand walnut.”
Jasper River Salvaged Slab Edition
The top is made from a bookmatched slab of river salvaged Kahikatea, recovered from New Zealand’s waterways after lying preserved for generations in river silt and sand. These logs were once part of the early Northland timber trade, felled more than 150 years ago and floated downstream toward the mills. Not all of them arrived. Some settled into the riverbed, where time, water and earth held them in a kind of natural archive.
As the timber lies in the riverbeds, it absorbs minerals latent in the soils which are impregnated into the wood, giving it characteristic feature. It has been estimated this particular tree was between 300-400 years old.
Because this particular Kahikatea top has more thickness than the standard Jasper design, the sections were tapered and refined to give the table lightness and a little more distinction. The result is still the Jasper design, but more singular, an expression shaped around the character of this particular slab.
As a slab table, it can be commissioned around other exceptional timbers sourced from across New Zealand: river salvaged Matai, ancient Kauri, or even a Black Walnut slab.
If you have an affinity for slab furniture, and the Jasper Slab Edition resonates, this design could be for you.
Tizard in Situ
A fine example of how furniture can elevate a room. This Tizard was delivered recently to a client in Auckland with Rangitoto as a stunning backdrop.
NZCFW Struggle
As you may know, since we’ve been back in Aotearoa, I’ve been forming a relationship with the Centre for Fine Woodworking. This school is the last remaining school in New Zealand where you can learn fine furniture making and is one of the top facilities in the Southern Hemisphere.
A real gem, with a passionate team and tucked away in a beautiful area of Nelson.
CFW is facing significant financial challenges at the moment.
It’s aim of keeping course fees as low as possible means that each year, to a varying extent, donations have been used to cover operating costs.
If you are interested in donating or if you enjoy woodworking courses, check out the CFW’s 2026 short courses or make a donation.
What I’m listening to:
Wild God – Nick Cave and the Bad Seeds
What I’m reading:
Basic Design: The Dynamics of Visual Form – Maurice de Sausmarez