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This is where I talk about my commission pieces or the pieces I have designed. Most of the videos will be for paid subscribers only

So it is Saturday and my wife is checking Facebook, as normal, and found a chest of drawers. It is an old piece, but because it is painted — and a really bad paint job at that — as a professional furniture maker, anything painted offends me, or tells me someone doesn’t appreciate nice things. In my mind, paint only belongs on walls.
Anyway, the plan was to bring it home and just use it as-is. Well, that went south as soon as we got it in place. She then explained her plan for it and how she was going to use it. In the back of my head, I knew that at some point she was going to ask if I could strip it, and I really dislike stripping paint off furniture. In our discussion, I explained that I would be willing to sand and repaint it with a much better paint job — yes, you just heard me say paint it — but it is already painted, so I am not breaking my first rule.
Now, as I sit and look at it, I am really struggling with myself. Why, you might ask? Well, due to the fact that my whole world revolves around woodworking, furniture, and its assorted styles, the more I study it, the more I know that under this paint is either Bird’s Eye maple or walnut. This style was from the 1920s, and that curve along with the wood grain was all the rage. So the decision was reluctantly made to just strip one drawer, and off to the shop I went.
I got my card scraper out, ran a pass across the drawer front, and — yep — Bird’s Eye maple it is. So now I have a project: bring this 1920s piece back to its former glory.
As I was sanding, I noticed a past repair. As is typical, the drawer box was broken, right at the rabbet for the bottom of the drawer, in a corner break — so the bottom isn’t as secure. Someone had simply taken a piece of wood and nailed it to the bottom so the drawer would slide and look fine. Me? I go hardcore. I took a mallet and, oh so carefully, broke loose the dovetails holding the sides on, then cleaned up the broken edge and glued a piece of wood onto it so I could cut a new dado for the drawer bottom to slide into when I reglued the side piece back on.
After rebuilding the drawers, I will then scrape and sand the rest of the piece.
First, it is worth noting that this is a manufactured piece of furniture, not a custom build. However, if you look at its construction, it is so much better than its modern counterparts. It is all solid wood construction — yes, the Bird’s Eye maple is a veneer, but the core it is glued to is solid pine, not MDF or that compressed sawdust material used in today’s furniture. This piece was also likely made right here in the United States, in North Carolina. I have a blog about the history of High Point and its furniture industry — click the link to read it: The Rise and Fall of North Carolina’s Furniture Industry
The drive to maximize profits by making things more “efficient” — and I am not a big fan of that word — has substantially brought quality down. That is why I do things the old way. My pieces will last centuries, just like this one, and if they ever need attention down the road, they can be repaired rather than replaced.

I have some updates we found out this was built in James Town NY by Atlas Furniture Co. in the 1920 . I have looked on line and these sell in mint condition for around $400 to $800




This client wanted custom book storage paired with seating and hidden storage for their Seattle home. Designed to frame a bay window in the front room, the project began in mid-December. Once the design was finalized, I got to work building always the fastest and most satisfying part of the process.
Walnut seems to be having a real moment right now, and for good reason. You can see another completed walnut bookshelf for a different client in the background this one follows suit.
There’s just one final detail left to complete: the bench top. I’m waiting on the hinges to arrive before finishing the lift up seat. This past Friday, I applied a coat of finish, which deepened the color and brought the grain to life even more.
Once it’s installed and filled with books, this piece will truly shine.



Before this marquetry panel was framed, I considered giving it a different life.
My original thought was to integrate it into this table—to let the art and the furniture become one object instead of two. Not as decoration, but as structure. Something meant to be touched, lived with, and slowly marked by time.
I was advised not to do that.
That art should remain untouched.
That no one wants to cover something so carefully made.
That a surface is meant to be protected, not experienced.
And I understand that thinking. There is a long tradition of preservation, of separating art from utility, of placing value in distance. Framed. Elevated. Observed.
But I’ve always been drawn to a different idea.
I believe the most meaningful objects in our lives are the ones we use. The table where meals are shared. The desk that holds years of thought. The cabinet door opened every morning without a second thought. These pieces don’t lose their value through use—they gain it.
Wear isn’t damage.
It’s evidence.
Evidence that something mattered enough to become part of daily life.
This table sits in that tension. Between preservation and participation. Between the desire to protect something beautiful and the instinct to let it live where it belongs—in the center of the room, not on the wall.
The marquetry itself was hand-cut from solid wood veneers, built slowly and intentionally. It wasn’t made to be precious. It was made to last. To move with the seasons. To age honestly.
When placed into the table, it asks a quiet question:
Is art something we look at, or something we live with?
I don’t think there’s a single right answer. Some pieces want stillness. Others want hands, sunlight, and time. What matters is the intention behind the choice.
For me, furniture has always been about more than function. It’s about creating objects that earn their place in a home—not because they’re perfect, but because they’re present.
Whether this panel lives framed on a wall or integrated into a table, the question remains the same.
What do we value more: preservation, or participation?
And what kind of objects do we want to carry our lives forward?
So I’ll leave this here, unfinished in the best way.
Do you believe art should be protected and preserved—kept separate from daily life?
Or do you believe it should be integrated, touched, and allowed to age alongside us?
I’d truly like to hear where you land.
Leave a comment and tell me how you see this piece.
Your perspective helps shape where this work goes next.


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There’s a moment in every marquetry piece where the image finally begins to emerge from the wood—where the shapes, grains, and tones stop looking like scattered veneers and start becoming something alive.
In my latest video, you’ll see that moment unfold: a bird taking shape, feather by feather, as I cut, fit, and assemble each delicate piece by hand.
This is the part of the craft I love most. It’s slow, intentional, and deeply meditative. Every slice of the knife, every choice of grain direction, becomes a brushstroke that defines motion, light, and emotion. What begins as raw material transforms into art you can feel—art that carries the warmth of human hands, not machines.
This marquetry panel will become a one-of-a-kind piece of fine art, and like all my work, it’s built to last for generations.
Commission Your Own Piece of Heirloom Art
If this video inspires you, I’d love to create something meaningful for your home.
Visit my website to explore my past work or to start a conversation about a custom piece:
👉 www.andersonwoodwork.net
Support the Craft
I create my videos and blog posts independently with no ads or sponsors.
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In a workshop filled with sawdust and strategy, this bench emerged—a fusion of strength and serenity. Crafted from solid oak and rich teak, it carries the weight of Western resilience and the grace of Asian design traditions. This is not just a place to sit. It’s a place to honor.
The bench’s flared legs and clean joinery whisper mid-century clarity, while its proportions and subtle curves nod to Asian architectural elegance—where balance is beauty and restraint is power. Teak, with its deep golden hue and natural oils, brings warmth and endurance. Oak offers grounding. Together, they speak in harmony.
✨ Aesthetic as Philosophy
Asian design isn’t just a style—it’s a worldview. It teaches us that emptiness has meaning, that simplicity is sacred, and that every curve can carry intention. This bench channels that ethos. It invites stillness. It honors space. It resists the noise of excess.
🪑 Built for Legacy
Whether placed in a quiet entryway, a civic gallery, or a home that holds memory, this bench is meant to last. Its joinery is honest. Its materials are noble. Its presence is both protest and poem.
Commissioned pieces are available for those who believe furniture should speak—of heritage, of resistance, of beauty that refuses to be rushed.
Visit my store to order one or commission me to create one with different species of wood.
In a world of mass production and fleeting trends, there’s something quietly defiant about choosing custom. It’s not just a cabinet—it’s a declaration. A mirror isn’t just reflective—it’s a portal into your values. And furniture? It’s the architecture of your daily rituals, the silent witness to your life’s unfolding.
🌿 Why Commissioning Matters
When you commission a piece, you’re not buying furniture. You’re investing in intention.
🛠️ The Process: Collaborative, Thoughtful, Human
Commissioning with me is a conversation. We begin with your needs, your dreams, your quirks. I sketch, I listen, I refine. Together, we shape something that couldn’t exist without you.
Whether it’s a record cabinet that honors your vinyl collection, a kitchen island that anchors your family’s gatherings, or a bookcase that elevates your pursuit of knowledge—each piece is a reflection of your values, translated through my hands.
🔥 Why Now?
Because your home deserves more than “good enough.”
Because beauty is a form of resistance.
Because the spaces we inhabit shape the lives we lead.
If you’ve ever felt that your home should feel more like you, this is your invitation.
✨ Let’s Create Something That Lasts
I invite you to commission a piece that speaks—quietly, powerfully, and personally.
Reach out. Let’s begin the conversation.






I recently embarked on a new commissioned project where the client wanted to keep costs down without compromising quality. To achieve this, we agreed to use mahogany veneer instead of solid wood. While the veneer maintained the rich grain and warmth of mahogany, it introduced the challenge of concealing all exposed plywood edges.
Embracing Constraints: Veneer vs. Solid Wood
Choosing veneer over solid wood is a smart way to balance beauty and budget. Veneer offers the same stunning appearance as solid mahogany at a fraction of the cost and weight. However, its thin profile leaves the plywood core visible along cut edges—a detail no client appreciates.
The Hidden Challenge: Plywood Edges to Hide
Every sheet of plywood reveals its layered interior once it’s cut to size. Left untreated, those exposed edges break the illusion of solid wood and detract from the piece’s overall elegance. Traditional manufacturers solve this with iron-on edge banding, but I wanted a solution that felt just as handcrafted as the rest of the project.
Our Resourceful Solution: Homemade Solid Mahogany Edge Banding
Rather than relying on off-the-shelf strips, I turned leftover solid mahogany into custom edge banding. Here’s how it unfolds:
Step-by-Step Process Overview
Reflection on Craftsmanship and Sustainability
This project reminds me why I fell in love with woodworking: the opportunity to solve challenges creatively while minimizing waste. Crafting edge banding from leftover material not only preserves resources but also reinforces the narrative of each piece as wholly handmade. It’s a small touch that elevates the finished furniture from merely functional to a testament of thoughtful craftsmanship.
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Solid wood handcrafted custom furniture commands significantly higher prices than mass-produced alternatives. This price difference is driven by several interrelated factors, including materials, labor, craftsmanship, design complexity, and business overheads. Below is an in-depth look at why custom furniture is more expensive.
Material Quality and Selection
Labor and Craftsmanship
Design Complexity and Customization
Overhead and Business Costs
Production Time and Lead Times

The higher cost of solid wood handcrafted custom furniture is a direct result of superior materials, skilled labor, intricate design, and the bespoke nature of each piece. While mass-produced furniture benefits from scale and automation, custom furniture offers unparalleled quality, longevity, and personalization—attributes that come at a premium.
Ready to Transform Your Space with Custom Furniture?
Don’t settle for mass-produced pieces when you can own handcrafted furniture designed specifically for your needs. Whether you’re envisioning a statement dining table, a custom bookshelf, or an heirloom-quality bedroom set, I’m ready to bring your ideas to life.
Take the first step toward owning furniture that’s as unique as you are. Head to my contact page now and let’s craft something beautiful that will be cherished for generations.
Visit my contact page today to start the conversation about your custom furniture project. Simply share your vision, requirements, and timeline, and I’ll get back to you promptly to discuss how we can create something truly exceptional together.Contact me
Your dream furniture is just a message away.
As an Aquarius, overthinking is nothing new for me—it’s practically second nature. Recently, I found myself reflecting on some of the designs tucked away in my idea books. While many of them are quite simple, I’ve always been drawn to creating pieces that stand out as truly unique. That’s why I gravitate toward marquetry art.
I’m currently considering taking a very straightforward cabinet design and elevating it by adding marquetry to the doors. The only question now is what kind of pattern I should choose for the marquetry. It’s an exciting creative challenge, and I’m eager to see where my imagination takes me next.


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And while you’re here go explore my sight there is art in my store.
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