Beginnings
Let’s start from the beginning, how did you first get into woodworking?
I originally qualified as a plumbing and heating engineer but ended up working as a laborer on building sites to pay for art and music school - I played the drums in a band and toured all over the UK and Europe! Whilst working on the larger building sites I found myself spending more and more time focusing solely on the carpentry side of things so I naturally fell into this niche. With some experience under my belt, I eventually partnered with a friend to help him build recording studios. With my extensive experience playing music in recording studios, I knew what worked and what didn’t; what was an important aspect of achieving high quality recording sound. It was nice to be able to use my musical background in a completely different industry. Whilst designing and building recording studios I ended up creating a lot of custom, acoustically beneficial furniture, which ignited my passion for furniture making and my partner and I almost exclusively ended up making just the furniture to fit within the wider studios.
Moving on from working with recording studios, I gained experience working at a few other carpentry firms before taking the leap and working on my own. I set up as a limited company in 2016 and rebranded as Cedar, Cutts and Moore, with our first studio being at the back of a grainstore in Hampshire. We’ve grown a lot since then; when we first came together I was sleeping in the back of my van in order to save money and buy bigger and better woodshop equipment. It’s been a journey! You’re a master craftsman. What does that mean? To me, being a master craftsman demonstrates a level of trust between me and the customer and a commitment to solving complex design problems. I wholeheartedly believe that everything we do, we’ve invested some of ourselves into that as it goes out the door, which we’re very fortunate to do because we don’t do mass production.
You’re a master craftsman. What does that mean?
To me, being a master craftsman demonstrates a level of trust between me and the customer and a commitment to solving complex design problems. I wholeheartedly believe that everything we do, we’ve invested some of ourselves into that as it goes out the door, which we’re very fortunate to do because we don’t do mass production.
Everything we do, we have invested some of ourselves into that as it goes out the door.
Workshop & Working with And Objects
Tell us about your workshop location. Do the unique surroundings inspire your work?
In 2017 we took on the building we’re in now, which is an old cow shed. We’re located in the Hampshire countryside and have views directly onto the Watercress Line, with the steamtrains chugging away in the background. It’s bucolic and we’re very lucky. However, I wouldn’t say it necessarily inspires us directly; most of what we do is under the directive of a client - like And Objects - so we’re not seeking inspiration in that sense. What it does provide however, is a space that I feel peaceful in which helps me focus and concentrate.
How do you incorporate computer software into a craft that is traditionally very hand-based?
I try very hard not to! Marta, another Director at CCM, does all the design, drawings and CAD work and as a company we have a large CNC machine but I will be the first to admit, I’ve never used it, I don’t know how to, nor do I have an interest in learning to use it. One of the great things about working with And Objects is the brand's commitment and understanding of creating something traditionally, allowing the physical process of creating that object to take an active role in its storytelling.
Are there any particularly challenging And Object designs that have really made you stop and think?
When Nick first showed me plans for the Waltham Console Table, specifically the spherical balls that would attach to the wooden top, he asked if I’d be able to work it out. I enthusiastically said I’d be able to. However, it was in fact, quite a complex challenge but we managed it after closely working together and adapting. I think Nick knows that I enjoy a challenge too and will be committed to working it out so we work well when developing specific pieces.
What’s your favourite wood to work with and why?
Ash is a beautiful, strong and underrated wood. It has a lovely creamy texture that takes stains and oils really well. It is structurally very similar to oak - a little softer - but it is a fraction of the price. We also have an abundance of it in the UK. Walnut is brilliant to work with, it behaves itself and is a lovely material to hand plane. I’ve also recently been working with some exotic woods such as African Blackwood and Pink Ivory, which have provided a source of experimentation and enjoyment; the results are extraordinary and the colours that come to life when oiled are beautiful.
What advice would you give someone looking to get into carpentry?
Focus on mastering a single, specific discipline rather than trying to master everything.
Finally, what are you currently working on or experimenting with?
We’re currently working on a shelf which has design similarities to the Waltham Console Table. I’ll be working on aspects of this during London Craft Week. Outside of this, I’m enjoying experimenting with some traditional finishing methods, including making my own batch of traditional ebonising fluid to use on oak.