1992 I have focused my work on construction of cellos modelled
on the works of Francesco Ruggieri and Joseph Filius Guarneri
(father of del Gesu`).
The Guarneri cello shape in particular appealed to me in its rounded
proportions and compact, relaxed feel. The outline,
f-hole design, and archings all felt more comfortable to me and I began to seek out
more examples of Joseph Filius' work, documenting their appearance
with photographs and measurements.
began to pay particular attention to the marks left on these cellos
by the maker's tools, trying to gain insight into his style and
manner of working. I love to look at these dynamic and beautiful
instruments. They reveal much about the personality of this artist/craftsman
working so long ago.
The more of his work I saw, the more I began to feel a kinship
between his way of working and my own.
instruments I build are not copies of any actual Guarneri cello,
but rather are my interpretation of his ideals. I try to work
quickly and freely, and my cellos are a blend of my own inspiration
and the Guarneri style I have digested. In the carving of the
scroll, the influence of
F. Ruggieri is often evident in my work, although again I am not
copying any particular original but rather drawing from the library
of images in my mind's eye.
All of my instruments are antiqued because it is the rich and
varied appearance of such antiques that first captivated my eye
and continues to fire my hunger to re-create this particular kind
of beauty. I think of each cello as a work of art as well as a
musical instrument. In creating the antique appearance I refer
frequently to my many close-up photographs to make sure that it
is convincing and natural looking. In order to further capture
the appearance of Filius' cellos I like to use woods similar to
those he himself used, including maple, beech, poplar, willow,
and sometimes cherry.
My goal is to create a new instrument that at the same time looks,
feels and plays like an old one.