I got my first lathe just before the second Covid lockdown in 2020, after years of watching woodturners on YouTube and wanting to give it a go. I started with a small Clarke lathe and a basic set of tools, learning the fundamentals from channels like Axminster, Worth the Effort, Turn a Wood Bowl, and especially Phil Anderson at Shady Acres Woodshop.

It didn’t take long before the hobby became an obsession. That first lathe was soon too small for what I wanted to create, and over the years I upgraded through three more, each one giving me more control, capacity and versatility. Along the way, the workshop filled with chucks, gouges, grinders, sanding gear and eventually a Tormek sharpening system.

From the very beginning, I knew I didn’t want to buy wood. Not for financial reasons, but because I wanted my work to be rooted in nature and sustainability. I only use windfall, deadwood or timber removed for safety reasons. Over time I built a small network of people who share that ethos, and soon I had enough wood to justify building a woodshed — and then using most of the garden too.

I quickly discovered that I love turning pieces other turners might avoid. I’m drawn to spalting, bark inclusions, crotch grain, dramatic patterns and especially burls. I enjoy the challenge of working with unprocessed, unbalanced wood. It means reading cracks, watching for flying bark, adjusting as the piece reveals itself and accepting that the wood always has a say in the final shape.

My style is earthy, tactile and natural. These aren’t glossy, perfect bowls turned from shop‑bought blanks. They’re pieces with character, movement and history. Sanding often takes longer than turning, and I spend a lot of time softening live edges so they feel warm and organic in the hand. I want every piece to have a bond between the tree, myself and the new owner.

As my shelves filled with bowls, mushrooms and experimental pieces, friends encouraged me to try a craft fair. I was nervous, but the response was incredible. People connected with the raw beauty of my work, and many became repeat customers. I’ve never aimed to make pieces worth thousands — I prefer creating affordable art that real people can own and enjoy. As my skills grow, I’m producing more heirloom‑quality pieces too, each with its own story and history.

In 2026, after months of research, I added Lichtenberg fractal burning to my craft. It’s a dangerous technique that demands absolute respect, but the results are stunning. I use it on bowls, boards, mushrooms and larger pieces, finishing everything with food‑safe oils or toy‑safe waxes depending on their purpose. The process is deeply satisfying and adds another dimension to my work.

I’ve also taken on custom orders over the years — from large mushrooms for campfire seats to lighthouses, lampshades and yarn bowls. I enjoy the challenge of creating something unique for someone who already has a vision in mind.

Outside of woodturning, I work in theatre set construction, a career that has taken me across the UK, America, Dubai and London’s West End. My background in joinery, creativity and problem‑solving plays a huge role in how I approach turning.

By starting this website, I hope to share pieces that are honest, sustainable and full of character. When I’m at fairs, I always encourage people to pick up the bowls, feel the bark, the grain, the weight and the contrast. Every piece has taken many hours to create, and every piece has a story — from the tree it came from to the hands that shaped it.

Artisan Turning is my way of giving those stories a new life.