The history carried by objects is at the center of my work. Furniture forms, tools, and architecture fascinate me because they are objects we live with and handle. They carry evidence of use, memory, and repair. 

Familiar forms are often a starting point, but I enjoy moving them slightly away from what we expect. Traditional woodworking techniques such as dovetails, shaped joints, carving, and careful joinery are important to me, not only because they make a strong object, but because the process of making can become part of the story. The work exists somewhere between furniture and sculpture, between something useful and something strange.

I am particularly interested in the places where things begin to break down. Cracks, knots, splits, and other imperfections are often treated as problems to be removed or hidden. I am more interested in bringing attention to them and emphasizing these vulnerable places. The repair becomes part of the object rather than something meant to be concealed. Wood can be strong and enduring, yet it can also split, break, and change with time. I enjoy that contradiction and the way it can suggest something familiar about our own lives.

My work explores how these objects can carry a sense of history, even when that history is partly invented. I try to make objects that feel familiar yet odd. I want to leave enough space for the viewer to bring their own experiences and create some of the meaning for themselves.