This instrument is part of our fourth annual Contemporary American Makers Exhibition.
I see myself as a tool maker. My goal is to combine physics, history, and craft into the best possible tool I can for the musician and for the music. That’s why I particularly enjoy collaborating closely with musicians to fine-tune their instruments.
I have been playing the violin since I was a young child. And while I enjoy playing, it was always the violin’s sound that really attracted me to the instrument. I was captivated by the seemingly magical relationship between the music in my ears and the beautiful object in my hand. That magic is the result of the violin’s ingenious design, its rich history, and the fine materials and craftsmanship that go into its creation.
I am a graduate of the North Bennet St. School’s Violin Making and Repair program, where I studied under master luthier Roman Barnas. I have also had the opportunity to attend the renowned Hans Nebel’s set-up and repair workshop, and have participated in the Oberlin Acoustics Workshop. I spent a number of years working at the Metzler Violin Shop in Los Angeles, and currently live in Washington, DC, where I focus on making new instruments.
We build instruments to last not just a lifetime, but generations. That means choosing the best materials and employing the best craftsmanship. But, to me, this commitment to a non-disposable future also extends to using only sustainable materials whenever possible. To that end, I strive to eliminate the use of all ebony in my work.
I use tamarind for the pegs, tailpiece, and chinrest. The fingerboards and nuts are a synthetic alternative—called Corene—that is designed to mimic the look, feel, and workability of traditional ebony while being more durable and sustainable.
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