It takes a great deal of time and effort to craft using traditional hand tools. Here's a quick sixty-second video on just how it's done.
I am fortunate to have learned drafting the traditional way. These are the only drawings I create and use for my sculpting process.
The full version crafting without power tools, sandpaper or fasteners.
This is the culmination of my chair display at Frank Lloyd Wright's Historic Park Inn, Mason City, Iowa. I tell the story of my work starting with childhood influences, formal and informal education, Wright's influence, and how it is all contained within my art.

Local hardwoods: walnut, cherry, hickory, and maple sculpted without power tools, sandpaper, or fasteners. This is the meaning of hand made. Silva Decorus is Latin for Wood Finely Formed, in reference to the entire process from seedling to tree to lumber to finished piece.

Raised in Iowa and now residing in Wisconsin, I spent my formative years studying the Prairie School and wandering the East Building of the National Gallery. From architecture to 20th century painters and sculptors to the natural world all assembled in a uniquely new and modern aesthetic.
I have always felt a deep need to create.
My first declaration of how I wanted to spend my life was at a very young age, Artist!, and my work is a reflection of everything I see told through geometry and proportion.
Having spent my formative years outside exploring the prairies, lakes and forests of the Midwest, it was natural I’d choose wood, or it would choose me.
Around age ten while at the family contracting business I discovered blue prints, and they resonated. I bought books of house plans and studied not just the drawings but the relationships of the forms. I would reinterpret what I saw into my own designs, always seeking to improve them. Of all things a window ad radically changed my ideas of what could be-a stark white house with floor to ceiling windows, all lit up. It was abstract geometry that created a living space far from the 60’s ranch I was growing up in. Noticing my persistently growing interest in architecture my da asked if I’d ever heard of Frank Lloyd Wright. I hadn’t, and this was the eighties so I got on my bike and went to the library to check out some books. Now these were drawings. I couldn’t get enough of the floor plans and renderings. I spent hours and hours pouring over them.


Visiting Frank Lloyd Wright’s Home and Studio c.1990
I was a very shy child and consistently struggled for words, instead focusing on feel. This was a language of geometry and proportion that I could feel. As I got older my dad would drive me around town looking at interesting houses, one of which was designed by an architect I later spent Career Day with. My eighth grade History Day project was on Frank Lloyd Wright and in ninth grade we took a trip to Chicago to Wright’s Home and Studio in Oak Park. That same year I attended the AIA conference in Des Moines and got to hear Robert Stern and Michael Graves speak. I was fortunate to be offered two years of drafting class in high school where I honed my technique and concentrated on drawing perfection. Finally, after nearly a decade wait I was set for architecture school. Focused and ready, I connected with the engineering aspect and architectural history but when it came to the studio I was simply too linear of a thinker-I was faced with taking a black and white mind into a place requiring artistic creativity that I simply lacked. Needing a big change, I got out of my comfort zone, transferred schools, and moved to the east coast and settling in Washington D.C.
I.M. Pei’s East Building of the National Gallery of Art, Washington D.C.

Most people when visiting Washington go to the White House or Capitol or the Smithsonian. I went straight to I.M. Pei’s East Building of the National Gallery of Art. I learned of the building in my architectural history class and it reminded me of the house from the window ad so many years before. I gave myself a prolonged art history lesson to flip my approach. I soaked in the Calder mobiles, Lichtenstein and Rothko paintings and watched the shadows traverse the atrium, changing the feel of the space and unlocking its geometric complexity. I graduated with a degree in history and went to work at the family business teaching myself AutoCAD.
Being on a corporate track within a few years, I started an MBA program but I was lacking a creative outlet. Then, the unexpected. The same month I returned to school I took a six-week, Saturday-morning woodworking class, discovering the wonders of the hand plane, panel saw and Stanley 45. It took no time to discover that not only did I love using my hands and heart with these tools, I enjoyed it infinitely more than statistics class. I ended my stint in grad school and started buying antique woodworking tools. I’d found it.

Initially focused on building traditional pieces with raised panels and dovetails I spent ten years collecting hand tools and honing my skills. Resettling in Wisconsin surrounded by wonderful dense hardwood forests I had the good fortune of meeting an arborist who showed me huge slabs of Ash, Hickory, Walnut, Cherry, and Maple I didn’t think could even exist. Having discovered natural edged lumber I transitioned into building big and bold Nakashima-style pieces. I showed in a few local galleries and then a commission came around that completely transformed my approach once again.

I was asked to create a hanging sculpture mounted to a two story stone fireplace in of all places, a Prairie Style house.

By looking at Wright’s stained glass windows, carpets and magazine covers and piecing together scraps to create the general form this was a higher-level creative process. This piece felt different. I needed to evolve and grow from this, but how?

I shifted the presentation from horizontal to vertical as a reflection of those trips to Chicago while growing up and appreciating the skyline. I remembered the mile-high skyscraper, The Illinois, that Wright designed as a challenge. Many wall hanging prototypes followed but I needed a bigger challenge.

Around this time The Milwaukee Art Museum displayed an exhibit of the works of Charles Rohlfs and the form of his desk chair stuck with me. I could turn my wall hangings into chairs with a similar tall back.
A year later I had my first set of chairs. Building off a different wall hanging I had a second set of chairs. Refining the first set, I had my third set of chairs. It wasn’t until the fourth set that felt I had pushed myself far enough I was ready for display. Getting to see my pieces in a Wright-designed building was a thrill beyond measure.
In revisiting Wright’s work for the hotel display, the Kith/New Balance/Frank Lloyd Wright Foundation shoes were released, causing me to find further inspiration in the colors and geometry of their inspiration, Wright’s Broadacre City.
Thus the tables.





Where to now? Mason City, Iowa is also home to Meredith Wilson who wrote The Music Man. Always pushing my limits, a Music Stand.
What began as a simple need to create, my work provides order and calm and helps make sense of, and connect to, it all.
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