Inspired by the “Three Sisters” volcanic peaks in the Cascade Range of Oregon, these chainsawed Douglas fir, shou-sugi ban finished elements sit balanced and penetrating the grey glass tabletop like layers of a geological cross section.
A pair of armchairs were designed and built for the French Artist Residency, Villa San Francisco. Simplified curves take inspiration from classic arches like the the Arc du Triomphe to a humble croissant. Created as a collection which includes a matching dining table and set of dining chairs.
In a matching patina process to the Hadean Table, slotted steel cross section planes hint at the form of three-dimensional cells.
Featured in a solo exhibition with Municipal Bonds at FOG FOCUS 2025
Oversized, solid wood wheels celebrate mobility while the two standard legs eliminate the need for locks on this custom-designed table. A simple lift-and-push while holding a discretely hidden underside handle facilitates moving this heavy object like a wheelbarrow. Constructed with exposed through tenons from old douglas fir timbers excavated from the original building. Accompanied by a matching dining bench.
2024
Red Oak
A force appears to draw a lattice out of shape, through a plane that mirrors its twin in reverse. In both black and white, and moving in two directions, it’s as if the piece deforms towards itself.
In Pulled the meticulously crafted white oak lines stretch around an invisible weight with grain appearing to weave in and out across the grid, all which sit framed evenly across its black mirror base.
Through layering of feelings and fascination with material and process my work explores states of being and curiosities.
A matrix of adjustable charcoal wood plumage adjust into either vertical alignment or a chaotic array as a permeable exterior to an altar-like cabinet. This mutable case with its glow inside and shadowy exterior showcase duality, endless changeability, and an aliveness, as if the wind blew through. In the daytime sunlight, the fins exhibit texture in shades of black and gray. In the nighttime, the cabinet becomes a lantern, casting striations of light and dark.
Price Upon Request
Available at Municipal Bonds
A rainbow of copper patina in a cellular cross section conjures the primordial eon of gas and dust, as an accretion disk surface atop a velvety sculpted wood base, its extrusion aligning below and peeking above.
From FOG FOCUS 2025 with Municipal Bonds
Quantum Sentiments presents an artificial expression of geologic process. Eroding in right angles, the piece deconstructs into scales of increasingly granular structures - starting with it’s outer cube, into smaller linear limbs, into blocks, into grains of sand, into what we cannot see with the naked eye, into atoms and particles.
With several nearly intact sides, Quantum Sentiments, appears to once have been a complete cubic object, and in partial form it alludes to a longer course of change. Seemingly ephemeral, the sculpture is a reminder of our transience. Its sense of erosion refers to natural transformation yet in its pixelation presents as an artificial imitation conjuring up sentiments of how our perceptions of reality intertwine with technology. In my work, material manipulation layers with themes on time and impermanence. Sand, in particular, can represent multiple dimensions from the delicate to everlasting. On one end sand is fragile, like formations on the beach, constantly shifting arrangement from the water. A sand castle which can be intricate and labored is a momentary form and destined to return to its loose particulate positions. On the other end, sand has endured. Though diminishing in scale it is a continuation of material, transforming over time. Sand is representative of time itself, each particle a moment, accumulating in the hourglass, moving, changing but never ceasing to exist.
Through a physics lens I see the grains of sand as particles, fundamental building blocks of the universe, organized and vibrating at scales that are incomprehensible. With vast and all encompassing questions of what and how I am reminded of Carl Sagan, in Cosmos, who captures such feeling of infinite wonder so tangibly-
“The Cosmos is all that is or was or ever will be. Our feeblest contemplations of the Cosmos stir us -- there is a tingling in the spine, a catch in the voice, a faint sensation, as if a distant memory, of falling from a height. We know we are approaching the greatest of mysteries.”
― Carl Sagan, Cosmos
A family of solid ash stools featuring bentwood handles. These versatile pieces can function as either a seat or a side table, and their signature handles, which hug the contour of each top add a layer of functionality for easy transport or storage. Exposed tenons with wedge inserts join the legs to the top and accentuate both the craft and durability of it’s construction, a combination that creates a beautifully simple yet playful collection of functional objects well suited for a variety of interiors from restaurants and office spaces, to the home and anywhere in between. Available in four sizes.
Designed in California and handmade by the Amish in Pennsylvania.
For catalogs or wholesale information please email yvonne at info@yvonnemouser.com
2024
Monterey Cypress
51 1/2 h x 55 1/2 w x 5 1/2 d inches
The piece came about as a contemplation of emotion felt as weight, like gravity on the body. How there are invisible forces that push and pull inside and out. In the work, links and shifts create a rippling cause and effect. I like to think of it as a fragment of space and time we’ve zoomed into or even an expression of something that’s happening inside ourselves. it’s a fabric like series of connected events. An inclination can be our tendency, something that causes us to bend in a way, or a leaning into. Inclination is also a physical description, a measurement of slope or tilt. For example, the earth in inclined on its axis which in turn causes night and day, seasons and weather as it relates to the sun and moon.
Charred white oak, oil finish
Here preserved in time, the chair is at the epicenter and isolatingly charred. On one side layers of veneer are delaminating and curling like pages of a book. The burning represents a painful yet transformative moment as fires though destructive can also be life giving.
Spirit Phenomena: Elixirs to Heal Your Modern Ailments.
A transformation of light and liquid into choreographed concoctions. An installation and performance in collaboration with Leah Rosenberg, Lisa Mishima for, TASTE, Root Division’s 2016 culinary fundraiser.
Special thanks to Matthew Ward and Conor McMillan at WorldStage Inc. & Tekamaki LLC. for their amazing technology, collaboration, and support.
A piece by piece accumulation through repetition in process where salvaged bits of wood, remnants of projects past, are each treated with faceted edges like crystals and consolidated into a wood rock formation. This new nature is formed through routine scavenging from my own studio’s waste resource where material doesn’t disappear but is reshaped into a new tale. I’m partially motivated by interest in a rock collection I inherited from my father, and in thinking about why he was particularly fascinated with these formations I’ve come to find my own appreciation. Rocks are markers of time, through what they reveal about how they are made, when, and from what. These mundane objects can even be billions of years old.
Included in The Shape of Time, a solo-exhibition at Municipal Bonds, 2021.
Wood, various species (oak, fir, walnut, beech, maple, ash, birch, elm)
An entryway bench with a minimal design language that relates to the geometry and simplicity of the Charcoal Blocks. The sculptural quality and sense of movement is created through transformation across the piece, which shifts from smooth planar surfaces on one side towards
increased mass with roughness on the underside ending at a large and natural cross section on the opposite end. Textural difference is exaggerated between smooth sanded and burnt surfaces to wire-brushed, chiseled/cut, and burnt
The Pegboard Wall System was designed as a versatile service and retail wall for Front Cafe in San Francisco. The custom pegboard panels can be mounted in numerous grid based configurations and a selection of custom wire shelves, hooks, and holders can be endlessly rearranged and reconfigured according to changing product displays or service needs.
A corrugated length of cushion extends beyond the length of the base creating a soft expanse of changeable seating-scapes. By rolling, folding, and layering the stretch of cushioning, one can playfully create pillows, armrests, and body supporting forms to bolster the act of rest and sleep. The daybed offers a space for solitude and repose or an invitation for playful engagement.
In collaboration with Tiersa Nureyev for FOG FOCUS 2025 with Municipal Bonds
Like a conch shell calls the echo of an ocean, this rock like accumulation, sliced like a geode, laterally shifts exposing a murmuring interior.
Rocks can be keys to the past when direct communication is no longer possible. We are left to make sense from remnants.
My father collected many things and, as it turned out, he had a substantial collection of stones, minerals and rocks. While I never asked him about this fascination, I’ve wondered since he’s been gone. The physical weight of this world left behind required attention and a kind of mining of a man and his belongings. This piece contemplates a past then attempts to decipher and re-imagine an object as a hidden message.
Created for the exhibition Conversations in the Dark at Municipal Bonds in San Francisco.
This sculptural set of shelves is designed as a sequence of collapsing surface layers, each one weakening or dragging the layer above downward. Hinting at a gradual collapse caught frozen in time, and suggesting both rigidity and fluidity, the curves in this piece are echoed in the end-grain wave pattern on the facing edge of each layer.
Port Orford cedar
23.5 x 19.5 x 32.75 inches
An armchair, a seat of power, infested and eroding and just at the brink before damage to its structural integrity.
A sequence of time shifting from angular to organic like tectonic plates or waves crashing on the shore. Wood assembled, sculpted and coated with a volcanic like black sand.
Limited Edition 2010
This hand broom is inspired by an old superstition that it’s bad luck to rest a broom on its bristles. The unique handle allows it to be easily hung off a ledge or placed upright on a surface, not just for good measure, but to keep the bristles straight and protected. Each broom is made by hand of steam bent ash with horsehair bristles.
Each of these objects suggests a broom and recalls an everyday tool designed to perform a specific, ambiguous function. The curves are made using steam bending and lamination techniques. Each piece is assembled with tenons and splines, and features hand stuffed bristles.
A simple and familiar vase form is captured in this series of objects which appear broken. The profile of a series of disintegrating rims recalls a landscape on the horizon, and the use of sand as a material suggests impermanence, reminding us of the inevitability of decay.
This piece is a variation on the sauna bucket with an additional third, elongated stave which functions as a leg affords the possibility of a seat when flipped. This piece was built with coopering, copper banding, three-way copper splined joinery, and exacting geometry, and the three-way joint performs as a balanced handle and allows for stacking.
The Charcoal Blocks are a grouping of five upright and angled tables. Each of the individual pieces sits with a tilted stance and together they can be organized into a row, grouped loosely in a random arrangement or placed into some variation between the two. As the table is a composition of individual pieces the orientation and arrangements can change as desired and a piece can even be pulled away as a side table or stool. With end grain tops, the blackened and burnt finish deepens the natural characteristics in the grain, accentuating the rings, checks, and other textures from the beam’s history. These simple angles, geometric forms, and the dark tactile finish create a sculptural and modern statement in any interior. Constructed from salvaged Douglas fir beams. These handmade pieces are twice burned, wire brushed, and finished with a matte oil based seal. All dimensions are approximate and each piece is unique.
This piece can be made to order.
Limited Edition
Artist-made. Hand tufted rugs in a soft blend of wool, acrylic, and nylon. Felt lined bottom.
Beyond the hay fields and barns on the ranch where I grew up, was a sweet little forest of post oak trees and briars that I loved to explore. Sometimes I would carve mini rivers in the dirt, build bridges with sticks and stack tiny stone fences. One of the most satisfying parts of creating these miniature landscapes was when pulling up the bright green moss from the forest floor, and when it would peel up perfectly intact like a little living carpet. The bigger and brighter the better to lay in place as grassy hills to complete the scene.
Inspired by those tactile memories, these cushiony little carpets can be used individually or pieced together to form one luxurious moss like spread across the floor.
Photos by Michael J. Lyon
Custom telescoping wooden aprons allow this table to expand by three times it’s original footprint. With each set of aprons and legs traveling along the corresponding grooves, the table length can be adjusted to three different positions. When fully closed the legs stack symmetrically and allude to it’s potential. In the two-top position the legs take an asymmetrical arrangement, articulating the stacking nature, and then when fully open, there is a clear distinction between each leg and shape.
Paper, mylar
With artist-made oak frame
26 x 19 ¾ inches (framed)
A push and pull of destruction and creation where the punching and tearing through a plane of paper forms three unique portraits. Each textural images suggests igneous formation, aerial landscapes, or a map of the stars. The matte texture and reflective back layer create an changing experience as light and the viewer’s perspective adjust.
This trio of coopered and splined pairings are abstractions of seedpods, tree trunks, and an overhead skylight. Their funnel-like forms are positioned to collect light from above, casting angled shadows which change throughout the course of the day and year.
A unique dinner challenge where guests "hunt" for local ingredients prior to the dinner and gather to cook a spontaneous 4 course meal with Chef Leif.
THE HUNT
A special bag with an official invite and “hunting” instructions will be mailed to each guest. Each invite will include unique ingredient descriptions (green, leafy, or bitter for example), and guests will be challenged to interpret and source a fruit, vegetable, or herb to complement the meal. Participants are encouraged to forage, pick, or purchase their finds and gather information about its origin. The menu will ultimately be determined by the particular choices and interpretations of each guest.
THE GATHER
Once the ingredients have been brought to the table, guests will have the opportunity to share their choice. With no preparation, the chef will be challenged to spontaneously design, prepare and plate an entire 4 course meal based on the collective ingredients, with the addition of chef provided seafood and meat. All guests will share in the cooking process with our head chef.
THE CHEF
Leif Hedendal is a cook and artist who's work focuses on eating design, social practices, underground dining, pedagogy, health, agriculture, and food politics. Having trained at noma (rated #1 restaurant in the world since 2010), Chez Panisse, Citron, Greens, and numerous Barcelona restaurants, his cuisine focuses on micro-seasonality, humanely raised meat, under–utilized vegetables, urban ag, and wild forage. He has done food–based work with SFMOMA, YBCA, Berkeley Art Museum, Kadist SF, Soex, Catharine Clark Gallery, Triple Base Gallery, Garage Biennial, Studio for Urban Projects, Kinfolk Magazine, OPENrestaurant, Art In General (NYC), Space All Over (NYC), Ballroom Marfa, NADA at Art Basel Miami, Open Engagement (Portland), He Said She Said (Chicago), Roots and Culture (Chicago), and InCUBATE (Chicago). Leif's ongoing project since 2008, Dinner Discussion, a series of meals bringing together artists, food activists, curators, and writers to discuss their projects and form connections, has traveled to Copenhagen, NYC, and Chicago. He has been a guest lecturer at Harvard, CCA, SFAI, Mills College, and the Danish Royal Academy of Art.
Commissioned by the Headlands Center for the Arts for their 30th anniversary.www.headlands.org.
A family of three stools that can carry supplies and inspiration with you during your time at the Headlands. The stools are crafted in our shop out of of Alder, a lightweight hardwood native to the Bay Area. Each has a bucket handle to aid in carrying, and rubber-dipped feet to accept a variety of terrains. The colors and materials pull from the military history of the Headlands.
We were inspired by the utilitarian aspects of the military history, the landscape that invites hikes down to the shoreline, and the environment’s potential for creative discoveries. By packing the Carrier stool with tools, supplies, snacks or inspiration you leave prepared to explore at ease.
The stools:
Sit: The basic stool is simply a portable seat.
Stash: This stool features a small compartment for carrying tools and treasures.
Strap: Two straps under the seat can carry small objects or a blanket.
This reconfigurable grouping of funnel forms emerges as an organism on the interior architecture of a space, almost blending into the wall. Quietly positioned like mouths and listening ears, these works are inspired by lichen’s ability to reveal the invisible as a bioindicator.
Repetitive hammering of hand-punched holes of varied depths and diameters into black patinaed brass creates a textural field, a landscape of ridges, of lava flows, a lacy patinated night sky. Pattern and form are created through a process of destruction and further animated by a reflective inset panel which brings the viewer beyond the frame and all the way into it, inside.
From FOG FOCUS 2025 with Municipal Bonds
Designed for Studio O+A’s exhibition at the Milan Furniture Fair, this portable furniture object explores, as a concept, how we engage our bodies throughout the day as: attend, hunker, repose, and hike. I combined all four conceptual ideas into one transformable piece with custom-made twist-locking legs, straps, a seat, and a blanket for comfort when in repose.
Cellulose II
Newsprint, wood glue
A second, more undulating iteration of a concept inspired by a growing pile of used double-stick tape, this piece emerged from process of hand rolling and gluing together paper tubes, their subtle tapers leading to a naturally undulating form suggesting the rings of a tree.
These glass forms were inspired by scientific glassware originally intended for laboratories. They capture the spirit of FRONT as a tasting workshop and are used in the cafe as artful display cases for pastries and edible treats. The custom Borosilicate glassware is nested inside custom tooled bases of Richlite, a recycled paper-based fibre composite board, that references laboratory table tops. Available through FRONT cafe. Designed in collaboration with Adam Reineck.
Crating
The Flaskware packaging is specially designed with the language of the cafe's unique pegboard system in mind. Bent metal rods slot into pegboard holes on two sides to serve as handles for ease of carrying. Stenciled graphics clearly mark the contents shape and weight. These sturdy boxes are lightweight, and nice enough to be kept and reused. Designed in collaboration with Lisa Mishima.
A continued exploration of links and shifts creating a rippling cause and effect. Over 1,500 Monterey cypress limbs are stitched together into a zoomed-in fragment of space and time. It is a fabric like series of connected events that expresses something invisible, a kind of gravity that exists inside ourselves. An inclination, which is a measurement of slope or tilt, can also be a tendency, something that causes us to bend or a lean towards.
Designed and built in 2011
A shelving wall built from salvaged douglas fir and painted surfaces integrates with the architecture by a central compartment which aligns with the side window frames and white surfaces that match the walls. Three pairs of various sized sliding doors can move along the thirteen foot width to conceal or reveal the media equipment, books, and art, stored within.
Seeds, flowers, nectar, bees, pollen, honey, wax, extraction, consumption, pollination, fruit, seeds, flowers—it's a miraculous loop fundamental to our entire ecosystem. But beyond our appreciation of this natural cycle, we love that honey reflects the environment through the essence of the flowers the nectar was collected. We are drawn to the formal properties of honey as a material—it's fluctuating viscosity as well as it's ability to both absorb and refract light. Spun Honey concentrates on the process of how honey is made and consumed, inviting the participant to take part in a kinetic loop where a simple mechanical effort—a method inspired by traditional honey extraction—withdraws the honey and drizzles it on a tart. To perpetuate the cycle, participants are encouraged to take away a seed packet to plant the seeds for future honey.
Spun Honey
Loop #2
Ingredients: Local Wildflower Honey, Cream Cheese, Shortbread, Wildflowers
Materials: Beeswax, Wood, Rope, Wildflower Seeds, Vellum, Hardware
An accumulation of punched holes within a field of black patina on brass creates a pointillism of perforations forming a mesh of veins, a sparkling portrait of original matter, as meteorites call back to the start of the solar system.
From FOG FOCUS 2025 with Municipal Bonds
Through a processes of sand casting, drawing in molten metal, and sculpting, this evolving grid expresses a tendency towards decay. Inspired by a process of generation loss, increasing degradation, and entropy.
From FOG FOCUS 2025 with Municipal Bonds
In collaboration with Tiersa Nureyev
Recursion was the second in an experiment with our slot and tab system. We continued working with ideas of textile weaving and lace making while also experimenting with creating a completely closed system. Not unlike a celtic knot where the intricate woven designs are metaphors for endless cycles of birth, life, death. The interconnectedness is inevitable, you cannot pull on one part without affecting another. We were also inspired by cellular division and mutations. Each motif is made up of a set of units whose circular shapes grow by one. These units reflect radially and are increasingly altered as they move away from the center.
The making of our interlocking wall sculptures are like creating a puzzle while simultaneously trying to solve it. We first establish a pattern made from elements of rune-like characters: I, S, C, each cut as individual pieces of brass with corresponding tabs and slots. After establishing a motif we then consider repetition, how it can be employed and also disrupted. From this experimentation a single composition emerges.
Tiersa and Yvonne first met almost two decades ago during a textile theory class while students at California College of the Arts. When they reconnected years later, it was with the intention of a creative exchange. The relationship has since evolved into an ongoing partnership informed by a shared interest in conceptual, material and systems experimentation.
Untitled (Cellulose 1)
2006
Newsprint, wood glue
33 x 33 x 3 inches
A concept inspired by a growing pile of used double-stick tape, this piece emerged from process of hand rolling and gluing together paper tubes, their subtle tapers leading to a naturally undulating form suggesting the rings of a tree.
Thought for Food was recently invited to create a food experience for the opening of the Deep Craft Atelier Pop-up. The three week shop led and curated by artist, Scott Constable, featured his Deep Deck longboard skateboard, an on site manufactory, and a gallery carrying surf and skate inspired goods from local artists and designers. The event kicked off the launch of Storefront Lab, a year-long program developed by Yosh Asato and David Baker, exploring storefronts as places of community, creativity and local industry.
For the event, Thought for Food took inspiration from the beach vendors that might hang out on a boardwalk, comb the beaches, or otherwise contribute to a culture rooted in California in the 1960's. What more fitting way to find refreshment than from a popsicle? Made for one, designed for quick consumption with flavors that reflected sun, sand and sea. We imagined how these three staples of either surf or skate life might taste and called them "Surf Pops".
The chair stool and table of Transmogrificates are iteration of a basic form subtly transformed between functional objects. Each piece is slightly altered from the previous in surface angle and height. Together they suggest a sense of growth or diminution depending on your point of view.
Douglas Fir
68 x 36 x 30.5 inches overall
White on White was a meal created for the all white event, Le Diner a San Francisco. The elegant flash picnic brought together thousands of guests dressed in formal white attire, lugging in their own meals, chairs, and bubbly to a secret location for a night of food, music, and dancing. Thought for Food took the opportunity to push the limits of the theme by exploring the spectrum of white - its variations, textures, and flavors in a multi-course meal.
For the trek to the picnic destination we created a set of toolbox inspired benches, which were used to carry in our supplies – ingredients, place settings, and décor. These were later used as dining benches for our guests.
The meal itself was prepared in advance and each course, composed of white ingredients, was plated on site. Each of the nine courses focused on a single essence of the color.
Foam – Egg white, Pisco, lemon, sugar.
Milk- Mitico - Spain, Gouda – Europe, Honey Chevre – Holland, Bijou – Vermont.
Light – Endive, shaved pear, gorgonzola, vinaigrette.
Cream – Corn, crème fraiche, onion, white truffle oil, cream, white pepper.
Salt – Halibut, scallop, lime and grapefruit, aji Amarillo, jicama, onion, chip.
Frost – Pear, Riesling, sugar.
Smoke – Chicken, mushroom, bacon, corona beans, leek, onion, creamy broth.
Snow – Meringue, coconut mocha ice cream, white chocolate truffle.
Steam – White tea.
One of the first things we learn as a toddler is how to use a spoon and fork. We are scolded for playing with our food, and discouraged to eat with our hands. We learn to be “civilized;” to carry a spoonful of soup to the mouth, to cut bite size pieces of steak, to twirl spaghetti around a fork. Connecting with food through tools is one of the first ways we interact with objects and learn survival.
In the Middle Ages, utensils were status symbols, used only by the wealthy. Although at the time it was not considered necessary, people used them to flaunt highly decorative utensils made of rare stones and metals.
With the exception of finger foods such as burgers, and sandwiches, we rarely use our bare hands to consume, not to mention create food. Utensils are certainly useful, however they further remove us from experiencing food by creating a layer between the food and the body. This meal attempts to remove that layer and explore a more direct relationship to the food we consume. How do we make a pesto sauce without knives? Is it possible to whip cream without a blender or whisk? How does one measure ingredients without a standard measuring cup? Does the eating experience alter radically if we remove the layer of the tool and have direct contact with our food at all times?
This slatted teak dining set sits nestled in an irregular shaped corner of a patio on Telegraph Hill. The wrap around bench maximizes seating by following the architecture's perimeter and the acute corner creates an intimate and inviting space on the San Francisco Bay facing porch. Angled slats align with the main wall and sit parallel with the view. The consistent slat orientation simplifies an otherwise complex arrangement of angled surfaces and create a visual connection between the benches and center table. An integrated adjustable back rest sits discreetly when folded down and when up allows for a number of angles for reading, sleeping, or conversing.
Inspired by connections and shared space, this double lounge is both functional and comfortable. Five legs instead of eight create a simple and unified object. The book matched wood grain runs lengthwise along the seat and converges at the center adding to the joined and mirrored conversation.
Salvaged Elm
44 x 44 x 33 inches
This jewelry collection explores white oak end grains, leather, and geometric brass shapes inspired by herringbone textile motifs and the sculpture of Louise Nevelson.
These pieces are part of an ongoing design and craft collaboration between Yvonne Mouser and Tiersa Nureyev with her studio Stella Fluorescent.
Available at www.ymsf.co
A collection of furniture pieces designed for a Sebastopol, CA writer's cabin takes inspiration from the nearby Gravenstein apple orchards. The versatile ladder like rail and rung frame offers a simple structure for an adjustable variety of shelf arrangements.
The rift and quarter sawn white oak set includes: wall mounted shelves with concealed under-shelf LED task lighting, floor to ceiling side shelves with lower cabinets, a generous L-shaped desk, and a matching drawer and file cart. Kitchen shelving (not shown) on the opposite end of the cabin sits functionally mounted over kitchen counters and mirrors the visual language across the space.
Designed with Adam Reineck for New Factory
This versatile two-sided tool is designed to let you spread thick, or drizzle then honey as desired. Made in Pennsylvania from hard maple to last generations.
For sale at New Factory
A casual showing of B movies turns into an elaborate underground theater with the help of robots and concessions by Thought for Food. The summer series curated by Sam included Black Narcissus, Pirahna 3d, Repo Man, and Total Recall. We carefully curated a menu specific to each movie. Flavored popcorns and sodas with some special sweets where inspired by people, places and happening in the film you were about to see. If you’re familiar with these movies you understand the meanings. Otherwise the significance is reveled as the night unfolds.
Pirhana
For this over the top and bloody movie, we created drinks that bled. Body shot was a watermelon chunk soaked in cherry concentrate that was served in a shot of vodka and looked like a piece of bloody flesh. Flesh wound was a lime soda with a mangled black cherry and a cherry ice cube that slowly turned the drink red as the night went on and the excitement kicked in. We also created a popcorn flavor called Lake Victoria, which consisted of dried seaweed and bonito flakes.
Repo Man
The Frenshner – cookies made with custom cutters and stencils to look like car air freshners featured in the film.
This FSC Certified hard maple cutting and serving board stands on end for storage and drying after cleaning.
Available for purchase through New Factory
Published in "Reinventing the Chicken Coop" by Storey Publishing
2nd Place: IDSA's Digging Deeper Competition
What started as a concept for more efficient urban farming, SYM won 2nd place in San Francisco's Digging Deeper competition, and was recently built as part of a forthcoming book by Storey Publishing on chicken coop design. The basic concept is a system of 4’ x 4’ modules that enable easy, efficient, and local production of food, where space is a luxury, and passion for sustainable farming is rampant: namely San Francisco.
There are 6 basic elements to play with, including a chicken coop, chicken run, water collection unit, greenhouse, cold frame, and compost bin. Combining these elements together create symbiotic relationships with each other when connected.
For example: When the chicken coop is connected to a compost element below, and a greenhouse on one side, the chickens are kept warm by the greenhouse, fertilize the compost with their manure (which also produces heat), can be fed with red worms, weeds and insects that propogate in the compost, which produce a more nutritious egg for you to eat, along with rich and vital compost to grow more veggies with in the greenhouse, which also produces food year-round.
The facility of the system and foolproof nature of its elements create an easy “in” for anyone wondering how they could possibly sustain themselves in the big city. SYM can also be scaled for use in schools for education, communities for intensive production, or just the confines of your own urban backyard for gratifying and personally rewarding results.
In collaboration with Adam Reineck
Shown at Storefront Lab in San Francisco, 2012 as part of the Deep Craft Atelier.
A limited set of 30 handmade quarter-pipe "sand castle" molds and boards for building your own skatepark at the beach. The molds are vacuum-formed in Styrene, and the boards are all hand carved out of wood scraps from our shop in SoMa, San Francisco. Produced for the Deep Craft Pop Up Store.
Flaskware packaging.
In collaboration with Lisa Mishima for Front Cafe
I walked by an large hule tree several times a day and scooped up a fallen leaf or two in passing. This instinctual gathering led to a daily collection of the tree's fallen leaves as I stitched them together with twigs. Final installation in La Biblioteca Henestrosa, in Oaxaca, Mexico depicts a movement reminiscent of their path into my reach.
These two sided "baking tools" were made in collaboration with Leah Rosenberg for her exhibit at the New Children's Museum in San Diego. Her installation, as part of Feast - the art of playing with your food, is a bakeshop-inspired art studio that mimics a professional bakery, where visitors can experiment with the tools to sculpt "treats" out of clay and offer them as gifts. Four different two-sided tools were made by hand in sets of ten including: a rolling pin / stamp, spoon / spatula, cone form / hole punch, and a comb / pastry scraper.
