Fine Woodworking Show & Sale

After a long career in software development, I'm taking a leap and pursuing my passion for woodworking.  

I'm drawn to the beauty and functionality of fine furniture, and I'm particularly interested in exploring how to combine striking wood grain, curves and clean lines in an efficient way. This combination often creates difficult challenges, but I find they are exciting opportunities to learn and develop new techniques.  

These pieces are my first explorations in my newfound passion to craft unique pieces that will endure. 

Inspired by the clean lines of the mid-twentieth century, Natalie’s work focuses on simplicity and purpose. She transforms simple, geometric shapes into elegant, functional furniture pieces. 

Natalie is drawn to warmer woods like cherry and walnut for their inviting quality and works primarily with oil-based finishes that accentuate the richness of these wood tones. Wood selection plays a key role in her building process, and by keeping her designs understated in form, Natalie allows the wood grain of select boards to shine.

Although minimal, her furniture features subtle detailing, making for refined pieces built to last. 

I’ve never taken the road that one is expected to walk down. It’s the unexpected path that leads to the best stories—and I believe telling stories is one of humanity’s most important abilities.  

My exploration of new paths and finding new tales is what led me to this program. Like many, my woodworking experience was very basic, and to see the amazing creations in previous year’s shows was interesting and inspiring and so I decided to try it out myself.

I’d spent the previous nine years as an at-home dad caring for and homeschooling our children. The most educational, meaningful and integral time of my life. My family is very important to me and as such, this has had an effect on my work.  

I try to keep all my designs original, challenging and hopefully fun. Each project this year has had new aspects of processes and designs that I wanted to learn the skills for. As well, many of the projects were designed for a certain need within my own home.  Useful objects, original aspects, hopefully enjoyable for years to come.

This year’s projects tell a story of my skills and ambitions progressing. The idea of an arcade cabinet was an ambition for my family long before the idea of taking this program came to mine. Making it now though, with my skillset levelled up, is grander than anything I’d previously aspired to.

For those of you who are curious, Klemhuset means “house of hugs” in Norwegian. Part of my own heritage and previous explorations of unexpected paths and the stories they bring.

I look forward to future exploration and seeing what other stories and inspirations find their way out of the wood. Also, moving into more personal projects and seeing what my lovely wife wants upgraded next.

I have always been a maker of things. Creating tangible objects with my own hands gives me a quiet sense of purpose and pride. 

I enjoy the juxtaposition of 90-degree angles paired with organic curves. I find the precision of geometric shapes paired with flowing natural forms to be both disciplined and whimsical. Both qualities I strive to possess within myself. 

The art of fine woodworking has humbled me immensely, but in a very welcoming way. I respect the tools required, admire the materials used and now how have much greater respect for the skill required to create fine pieces. 

I will always strive for perfection, even while knowing full well that it is an elusive beast that is very difficult to capture.  

Natasha found herself drawn to furniture making in her earlier life but encouraged instead to explore alternative directions. Her adventures since have involved various aspects of research, manufacturing operations and innovation theory. On her arrival to Nelson and Selkirk College's Fine Woodworking Program, she found this interest in furniture converging with her wider experience.  

Her participation in the Fine Woodworking Program has been in part a return to making, and an unspoken interrogation into whether a small, community-based studio, social enterprise or community workshop might work. Perhaps a place for some of the very many talented Fine Woodworking graduates to step into as a launching point for their careers, or simply a place for intentional production of locally made furniture.  

With this in mind, her designs are intentionally simple and minimal with goals of reproducibility, scalability and consumer acceptance in neutral aesthetic and price. Her box and table were made using traditional joinery practices and her cabinet incorporates more modern approaches.

Keeping the makers ego out of design, she wonders if locally made furniture could be produced ethically and at price points that might encourage consumers to again shop locally for furniture. 

A furniture hoarder by birth and a furniture maker by choice, I came into this program to further explore my interest in woodworking and craft after dipping a toe in the trade during high school. My work is a blend of the unique pieces I grew up surrounded by, with a contemporary take while prioritizing function.  

I chose to make a mahjong game table and tile storage box after inheriting a mahjong set from my grandparents, which I ironically do not know how to play. It was important to me that the game table was not only effective as a mahjong surface but also as a table, making it pertinent to the design that there were two top surfaces. Drawn to the look of rounded dovetails, my box fittingly began to resemble a mahjong tile itself, inspiring me to develop my design to be a greater-scale version of it. Both pieces are made of Chinese Elm to honour the game, as well as the traditional designs I took inspiration from.  

I will be continuing to pursue my apprenticeship in Vancouver. 

Coming soon!

Wade Courson grew up in the Kootenays. He spent the first decade of his professional life as a Rolex watchmaker in France and Switzerland, before deciding to move back to Canada.  

Woodworking has always been a passion and he enrolled in the Fine Woodworking Program to expand his knowledge and skills. He is interested in form, scale, geometry and approaches his designs from a narrative perspective. He maintains an interest in the precision mechanical expertise he developed as a watchmaker and enjoys incorporating this into his creations.  

His time at Selkirk College was an informative and enjoyable experience of learning, sharing and experimentation in wood. 

My woodworking career started when I was 12, carving myself a wizard's wand using my older brother's pocketknife (not recommended). The sense of fulfillment that creation brings is something I’ve chased throughout my life. Never-ending curiosity is ultimately what inspired my move from Nova Scotia to BC to pursue fine woodworking.  

I lean toward feature woods with burls, decay or knots, which to me reflect the imperfections of human nature. I aim to create playful and whimsical interpretations that inspire, amuse and instill wonder in anyone interacting with my work.  

Starting with my spoon, I traded the pocketknife for rifflers, rasps and gouges, experimenting with carving human figure, bringing new light to the possibilities in woodworking. My enthusiasm carried me through shaping my table and cabinet, from lathe turning to hand carving, I look for elements that bring my work to life.

I will continue to bring wonder into my future pieces and to keep growing as a woodworker willing to take risks. I am, and always will be grateful—for the experience that Selkirk College and my instructors have given me.

I came to Canada in 2017 from Bristol, United Kingdom, and had spent the past 13 years prior working in hospitality. My fascination with woodworking stems from a desire for both personal and professional evolution. Having transitioned from a career in hospitality, I sought a medium through which I could channel my passion for design and craftsmanship. Woodworking provided the perfect avenue for this pursuit. As a newcomer to the world of woodworking, my journey has been one of exploration, discovery and deepening passion for the craft.  

In 2022, I was looking for a new hobby and started woodworking by building furniture for myself at home from pallet wood. After working with pallet wood, I discovered my love for woodworking and decided to join this year's Fine Woodworking Program. What started as a hobby, I am now pursuing as a career. Throughout my journey, I have found joy in exploring various techniques and processes, from the intricate artistry of dovetail joinery to the construction of jigs and the art of veneering. Each technique presents its own set of challenges and rewards.

While I have yet to discover my definitive niche within woodworking. My designs are driven by a fusion of contemporary simplicity and timeless elegance. I am drawn to clean lines, harmonious proportions and the subtle interplay of form and function. I am excited to see where my woodworking journey takes me. 

Coming soon!

Kenton Doupe has an extensive background in the arts, graduating with a Bachelor of Fine Arts from the University of Saskatchewan in 2017 and working as a freelance photographer and videographer for the past decade. 

Woodworking has provided him with a new challenge, applying his eye for design to a different medium. He has developed a passion for the trade, enjoying the opportunity to develop his craftsmanship and focus on creating thoughtful, quality pieces that are built to last. 

He has immensely enjoyed becoming a part of both the woodworking community and the greater community of Nelson and values the connections that he has built during his time at Selkirk College. 

Deceptively simple in appearance, Paulina’s work prioritizes technique and detail. With a background in architecture, fine woodworking allows her to bring together her interests in design theory and physical creation. 

She aims to bring her own twist to classic designs by focusing on the small things, like the detail between a leg and the top panel of a cabinet or the meeting point between two boards of wood—could these interact in a way that is both pleasing and elevates the overall design? 

Similarly, wood selection is a large part of her process—some pieces can only be made in light wood while others will only ever exist in dark woods. Paulina’s draw to certain boards, whether it be for their particular grain lines, unique colour or chatoyance, extends her design further than she originally thought it could go. 

All decisions are made with intention, resulting in refined work meant to be used and handed down for decades to come. 

Coming soon!

Hello!  

And welcome to the year-end show for Selkirk College’s Fine Woodworking Program. This piece you’re currently reading is what’s known as an artist statement. Now, I’m neither an artist nor artisan, but as you wander around the room I’m sure you’ll find that some of my amazing cohort are.

Instead, I chose to spend the bulk of my semester building this practical, yet extravagant split-top Roubo workbench. A workbench is the cornerstone of any shop, and as the old saying goes, “… something-something he’ll work for a day, but build a man a bench and he’ll work wood for a lifetime”? 

On day 1, as we entered the shop and selected our workspaces, I was drawn to number 13. I’m often trying to do too much, too quickly, which lends itself to a frenetic pace of stumbles and accidents. This is what has been dubbed Bench Thirteen energy.

But I digress. I took a sabbatical from a long career in IT, so I could fight some Covid burnout, and reconnect with a long smouldering passion for woodworking. It’s a beautiful and complex craft which requires me to slow down, hold space and focus. I quite enjoy the design process as an outlet for creative expression, alongside the intellectual challenges and problem-solving required to execute on those designs.  

I would like to sincerely thank Dave Ringheim, Scott Stevens and the very talented students for all the support and encouragement throughout the duration of this program. Their instruction and advice have been paramount in building both skill and confidence in the craft.    

Thank you for taking the time to read this far, please enjoy the show!

Jeffe Ivany 
Bench Thirteen 

PS If you are fortunate enough to take this program, and you value your sanity or your wallet, don’t build a bench. But do invest in Band-aids.

Relocating my family to Nelson to pursue my passion for woodworking was a difficult move and a bit out of character for me, yet I am so happy I did it. I grew up in Venezuela where woodworking is not seen as an aspiring career or even hobby. When I became a dad a couple of years ago, I got an unstoppable urge to build things—I caught the wood bug and have been passionately dedicating myself to this challenging yet deeply fulfilling craft.

This craft has given me hope, a new perspective and shown me parts of myself I had no idea were there. I am very grateful for this experience and looking forward to continuing this journey with my family back in Alberta, where we moved from. If you like what you see, please reach out. 

My goal is to build a shop and continue designing and building pieces that bring joy and enhance spaces. The way I see it, lasting high-quality furniture that respects nature will never go out of style. 

When I was a child, I had a dream to become a Shokunin, a craftsperson or artisan at a master level, one of the most cherished and respected professions in Japan, particularly in the woodworking field.  

My grandfather, who has been a professional oil painter for more than 70 years, is a big inspiration as an artist and person. I was very honoured to include one of his paintings in my box project.  

I was born and grew up in a suburban area of Tokyo, surrounded by bamboo forests. Bamboo crafts were popular in the community and among the kids, who would regularly carry their own hand tools and enjoy the crafts. I was one of them. I was fascinated by the local craftsmen and the art of woodworking and loved making things by hand.

Although my dream was set aside for a long while, I had always longed to be a Shokunin someday, and now I’m on the right track.  

Despite my limited experience in woodworking, but mindful of my Japanese heritage and connection to craft, I have learned and polished my skills and techniques over the last nine months at school and now I’m eager to demonstrate attention to detail, a focus on precision, and a deep respect for the beauty of nature through woodworking. My Kumiko table is one of the artworks that strongly shows my characteristics of patience and meticulousness.

Getting immersed in my own world while making something is so essential as part of my life routine, and the act of wood craft is almost like a cherished meditation for me, just like yoga or deep breathing in a forest. Oddly enough, I often find myself grinning during the practice.

This journey will never end, and learning will last forever as woodworking is now the biggest part of my life. I also wish to eventually learn traditional woodworking techniques and culture back in Japan and blend them with western styles to create something really unique and original.  

I am Jack Wichert, an aspiring young woodworker aiming to learn something new with every piece I create. It was easy to be inspired by all of the woodworkers I had the pleasure of sharing the shop with—people from all walks of life with a common passion to create beautiful pieces of furniture. I’m very thankful to all of them for teaching me so much, not only about woodworking but also how to live day-to-day, and most importantly where to find the best food in town.  

I feel like my design process has been my greatest area of growth. Initially my box was very simple, designed solely to fulfill a purpose, the inlay being a later addition to add complexity. In my table I took inspiration from a piece by Micheal Fortune and the curves of mid-century modern furniture. My record cabinet design was a very personal project. As its purpose is to store vinyls, I took inspiration from some of my favorite music. The choice to use veneered panels instead of solid wood was another important design choice for me. The fir forests we live around are precious ecosystems and it's important to me that the furniture I create respects the environment and promotes sustainability. I feel like my cabinet is as close as I’ve come to a truly Jack Wichert piece of furniture, and I can't wait to make more pieces with all I’ve learned from this course!

Taking this course is just one stepping stone on a long path towards my end goal of having my own furniture-making workshop, and I couldn’t be more pleased with how the past year has gone! It's been a privilege to share my time in this course with all of my peers and instructors, and I can’t thank Dave and Scott enough for all their expertise and help. These pieces wouldn’t be in front of you if it wasn't for them. If I could just take this course over and over again, I absolutely would!