My inspirations include works from the Ming Dynasty, for their elegance and refinement as well as their wonderful balance of positive and negative space....

The strength, craftsmanship and "painterly" sense of grain and texture in work of the "Cotswold" school of English Arts-and-Crafts, including that of the Barnsleys, Sydney and Edward....

And finally, the clean and simple lines and beautifully balanced proportions of Shaker furniture, and the equally gorgeous flow of Danish and Swedish furniture. These are examples of the decorative arts which continue, somehow, to project a sense of modernity, without sacrificing a timeless beauty.

I would strive to achieve this same effect in my own work, and so I was compelled to explain to myself, how it was possible for a piece of furniture to reward us, day after day, with a sense of calm contentment, an unflagging "rightness" for its place in our home?

There is in the best furniture of any age, a pleasing interaction or appropriate combination of elements; in a word, Harmony. The direction of grain, the color, even the textures, must work together. And so must proportions; in leg and rail and stile; even to the overall size and scope of the piece. Every element must be in accord with every other. A balance between strength and elegance, between form and function. And even beyond the furniture itself, there is harmony between the maker and his work, and between the craftsman and his client. Harmony is what I strive for, in every aspect of the craft.