I love Brancusi; I have long been attracted to modern, abstract sculpture and work by the well-known greats. Besides Brancusi, there’s Giacometti, Jean Arp, and David Smith, among others.

My first piece was done in spruce with a simple chainsaw and was an attempt to replicate Brancusi's "Endless Column." Though I've made more that are inspired by several of Brancusi’s works, most of my others are based on a blend of my collection of sketches and of course the individual aspects of each log.

My work is divided roughly into several contrasting descriptions: Small vs. large; meticulously planned vs. free form (primarily following the particular characteristics of a given log), and rough vs. highly finished. 

Most of my work is made with Eastern White Cedar (from Deer Isle), which has beautiful grain and can be sanded glass-smooth. I harvest many standing dead or dying trees and also gather some off the forest floor.

The spruce logs are mostly from my property in Stonington. Some are given to me by neighbors who do tree work as a living. I’ve also acquired some old beams from Brooklyn buildings that underwent renovation.

I like to create a contrast of highly finished surface with some raw or rough, unfinished surface. I am constantly making simple, rough sketches that I collect in a file. When I am ready to start on a new log, I search for one that both excites me the most and that may be suggested by the particular log I’m considering (or vice-versa). Then with measurements from the log itself, I make a scale drawing on graph paper, usually starting over a few times to get the proportions right. Following the scale drawing closely, I put chalk lines or masking tape on the log to both “see” the cuts to make and, tweaked a few times, guide the sawing. Usually I start with a chainsaw but sometimes with a demolition saw (Sawzall).

I’m also fond of using a Turbo Plane on a 4” grinder, but that makes such a mess that I have to limit that use to when I can work at the edge of a forest, covered in serious protective gear. Then it’s all about sanding, sanding, sanding. I do most of it with an orbital sander, using the lowest grits to remove chainsaw marks and to even things out and then work my way up all the grits, ending with super fine on the orbital and eventually hand sanding with the finest of fine sandpapers, the kind used to prepare cars for painting. The slow and steady, careful sanding is a complete contrast to the rapid removal of the chainsaw, which is virtually instant. I like that.

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Commissions are welcome, including on your own site (such as using a beloved old, standing dead tree or a recently fallen one).