One of two mirror imaged curved stair cases, this represents my first attempt at building such a structure. While the upper portion was fairly standard in approach, the lower half called for some creative thinking. I ultimately settled on a system where each step was responsible for supporting the tread of the stair below it, thereby ensuring consistency of angles.

This working draft shows the complexity of the compound angles required to construct this bench. This project required the construction of multiple custom jigs for table, circular, and radial arm saws.

In order to create the tapered trapezoid legs, I cut each of the sides and laid them out in order, using masking tape to hold the joints...

...so that after I glued the joints and stood the leg up, the tape held each seam in place until the glue set.

This shot shows the internal framework of the seat, as well as the only ninety-degree angle in the entire piece!

The finished product, shown from the front with a basecoat of paint and texture.

The finished product, shown from the side with a basecoat of paint and texture.

This staple piece was created for The Tales of Hoffmann, and was sturdy enough for two opera singers to sit and stand on the top. After laminating the block for the pedestal, I used a combination of planer, jointer, and bandsaw to reveal the profile, and followed a similar process with the legs.

The table shown right was the correct size, but the ornamentation and details were not period. I pulled the table from rehearsal for an afternoon and duplicated the dimensions while creating a more appropriate overall aesthetic. 

Shown here, the finished set with new side table.

A personal project, I designed and drafted this cabinet as a wedding gift.  Using exclusively birch wood, I joined and planed all planks from rough wood, and finished the entire piece with several coats of tung oil.

Using Calipers to measure the original, I created this template which I used as a reference to turn six matching legs to repair a chair and build a matching bench.

The final product, this taper is ready to be cut free of the block at the bottom, then mortised to connect to the bench.

In order to construct this lamp I first laminated a core of poplar, then used Gorilla Glue to laminate large blocks of insulation foam. I turned each section and created a dowel rod on each end to assemble the sections in order.

The final product was assembled, wired, and skim coated for a polished metal finish.

A quick solution to the design request for "a dilapidated radiator, light enough for one actor to move," I created this piece using insulation foam, PVC pipes, and plywood.

The finished piece in action.

This project is by far one of my favorites. I began the process with only the title of the sculpture that the designer requested, and the knowledge the she must be roughly 5'-6" tall.

This process shot clearly shows the substructure of Venus. With only 40 labor hours available to build her, I chose to begin my sculpture by modifying a fiberglass mannequin. I used a combination of wood, plumber's strap, and hardware to rearrange the mannequin's posture to suit my needs...

...then sculpted her features using Monster clay, and built up her curvy proportions using alternating layers of batting and plaster bandages.

Because the attitude of her hands is extremely specific, I created a life-casting, using a two-part molding technique.

After the majority of the sculpting process was complete, the statue was skim coated using a mixture of Flex-glue, paint, and plaster to create a smooth surface. I stitched and draped her dress in a sturdy broadcloth, then later dipped it in the same mixture to make it ridged. 

The final sculpture with the first round of paint!

The framing detail show here is just one bay of a 24' x 4', 3 octave keyboard. I was responsible for all aspects of design and execution, including the metal prep, welding jigs, acrylics, and wiring.

Each key was equipped with a full LED array, which offered the clientele the option of a fully customized color scheme.  I wired each key to depress a momentary switch, which was connected to the motherboard of a toy electronic keyboard.

The keyboard was wired to an 1/8" audio jack, which I then connected to full speakers to output the sound. The finished product is shown here, just after install.

I created this custom piece of stage weaponry with the understanding that it needed to be light, actor safe, and sufficiently balanced to enable the performer to throw it and lodge it into the ground, point down, consistently. I shaped the blade from sheet metal, then carved the handle from poplar. Custom rivets secured the connected, and allowed me to control the weight and ballast.

This candelabra needed to be able to have each candle extinguished individually, but was not large enough to hide a wireless receiver. I hollowed out the base, and installed three toggle switches for ease of operation.

I created the candles by dipping PVC in melted wax and outfitting the tubes with wired LED candles, which I then wired to the switches hidden in the base.

After creating some additional wax drippings, the end result was a stage ready candelabra that could be held and operated in one hand, while still allowing each flame to be "lit" and extinguished individually.

The disarmingly absurd weapons shown in the photo were created by attaching various kitchen implements to bamboo poles. The pineapple was carved from foam, and rigged to be "chopped" in half while mid-air.

I started with a half-round plastic ornament, then cut it and super-heated the plastic with a torch...

...to create several dozen "fish bowl brassieres." The heated plastic curled nicely to create the rim, and then I was able to drill small holes and stitch each bowl to the bodices of the costumes.

I created the bases of these fans by sandwiching two layers of 1/4" MDF with the plumes between, then wrapped them in fabric and added trim details.

The end result were luxuriously full fans that were both light and sufficiently sturdy to be held in one hand during the choreography of the show.

A quick recipe comprised of dry pasta, wood shavings, clay, glue, and paint!  

Relying on my knowledge of climbing and rigging knots, I used synthetic rope to create a ship's ladder strong enough to hold to adult performers.

A process shot detailing the knot work involved...

The final product in action!

For this project I was tasked with building two identical Jay puppets, each able to "fly" and be operated by a single-handed mechanism. The third puppet needed to be operated from above, to mimic a bird walking along the ground. I soaked and bent strips of balsa wood for the bodies, then laminated and carved insulation foam to flesh them out.

I based the design of the flying mechanism on a grabbing arm extender, and created the components from aluminium. Pop rivets secured the assembly the the wooden shaft, and the handle doubled as the pulley and a ballast. 

The third, walking bird was controlled via a thin metal rod attached to the back. The flexibility of the rod combined with small springs hidden in the legs allowed the puppeteer to create a realist bounce as the bird perched, hopped, and walked around on the ground. 

The puppet in mid-flight during production.

Street Scene,  UNCSA 2013

Tales of Hoffmann, UNCSA 2014

Tales of Hoffmann, UNCSA 2014

Tales of Hoffmann, UNCSA 2014

Die Fledermaus, UNCSA 2015

Die Fledermaus, UNCSA 2015

Die Fledermaus, UNCSA 2015

Die Fledermaus, UNCSA 2015

A Bright Room Called Day, UNCSA 2015

The Women, UNCSA 2016

The Women, UNCSA 2016