It was happenstance that steered me towards the world of woodworking, when I landed a job with renowned woodworker George Nakashima in New Hope, Pennsylvania. Working as a finisher in his shop, my hands rubbed and smoothed hundreds of magnificent planks of wood—some of the finest wood in the world. What began as a spark ignited a flame, and for 30 years my passion has continued to burn for beautiful wood and fine furniture.

For ten years I ran a one-man design/build studio in Princeton, New Jersey and in 1990 I received a Fellowship from the New Jersey Council on the Arts for my furniture designs. Then I donned another hat by joining the staff of American Woodworker magazine as an editor and writer, where I got to rub elbows with some of America’s top furnituremakers. I spent six years at the mag as senior editor, writing many stories about woodworking, shooting countless photographs of woodworkers building projects, and editing woodworkers’ stories—with an admittedly heavy hand. (Woodworkers aren’t necessarily known for their writing abilities, are they?)

More hats to wear: I started getting invites to teach what I knew from woodworking schools around the country, and I saw this as an opportunity to give back some of the knowledge that had been given to me. Bear in mind that this was the halcyon days of teaching the craft: There was no map or guide as to what to teach, and this carefree attitude was the perfect environment to hone my teaching skills. Today, we have a multitude of schools that aspiring woodworkers can choose from, with courses that target an individual’s specific needs. What I see is a generation of students who are better informed and know precisely what they want in terms of woodworking knowledge. I find it more of a challenge to serve these woodworkers in a meaningful way, and I enjoy the feedback I get from students because they ask more pertinent questions. As they learn, so do I.

The next step from teaching—and a much bigger hat—was writing beyond the colorful spreads of magazine pages and into the more permanent and scholarly sheets of books. My first effort, The Complete Illustrated Guide to Furniture & Cabinet Construction (Taunton Press, 2001), continues to sell well and is often used as a reference in shops, schools and libraries. I’ve since penned my name to five other books, all currently in print: The Complete Illustrated Guide to Woodworking (a three-volume set; Taunton Press, 2002); Choosing and Using Hand Tools (Lark Books, 2002); The Complete Illustrated Guide to Working with Wood (Taunton Press, 2005); The Workshop Idea Book (Taunton Press, 2005), and Building Doors & Drawers (Taunton Press, 2007). My work is also featured in The Custom Furniture Source Book (Taunton Press, 2001), a guide to the work of 125 leading furnituremakers in America.

My move to Asheville in 2000 was motivated by the welcoming culture of community- and art-minded people and, of course, the natural beauty of the mountains. After a decade of plying my trade alone, I joined the Boggs Collective in early 2011, bringing my skills as a furnituremaker into what was formerly a chair shop. Now we have the ability to offer a full spectrum of fine furniture, from chairs and tables to desks, chests and cabinets. The atmosphere in the shop here at London Road is serious, mixed with a sense of play. We collaborate constantly, whether it’s refining a design or learning a new woodworking trick. This collaboration always pays off in better work and happier woodworkers.