From my Entomology Series, this wooden robot is carved from fiddleback Australian Ringed Gidgee, among the densest woods on earth. Its weight is immediate and undeniable—stone-like, grounding—while the fiddleback grain moves beneath the surface like something still alive within it.
The head is formed from Australian Black Box burl, its natural chaos contrasting the density of the body. Brass ring inlays introduce a subtle mechanical order. The eyes—real honeycomb backed with mother of pearl—hold a quiet luminosity, organic structure meeting iridescent depth.
Set within the chest, a single blue carpenter bee from Java rests before mother of pearl—preserved, suspended, a moment held in time.
As with all of my pieces, every cut is a memory of the forest.
This work sits at the intersection of natural history and reconstruction—where timber, insect, and hand converge into something that feels both discovered and made.
From my Entomology Series, this wooden robot is carved from fiddleback Australian Ringed Gidgee, among the densest woods on earth. Its weight is immediate and undeniable—stone-like, grounding—while the fiddleback grain moves beneath the surface like something still alive within it.
The head is formed from Australian Black Box burl, its natural chaos contrasting the density of the body. Brass ring inlays introduce a subtle mechanical order. The eyes—real honeycomb backed with mother of pearl—hold a quiet luminosity, organic structure meeting iridescent depth.
Set within the chest, a single blue carpenter bee from Java rests before mother of pearl—preserved, suspended, a moment held in time.
As with all of my pieces, every cut is a memory of the forest.
This work sits at the intersection of natural history and reconstruction—where timber, insect, and hand converge into something that feels both discovered and made.
