Peter Korn (b. 1951) is the founder and Executive Director of The Center for Furniture Craftsmanship in Rockport, Maine. Silas Kopf recommended that I read Peter Korn’s book Why We Make Things and Why It Matters. Peter is originally from Pennsylvania, attended the University of Pennsylvania, majoring in history. He moved to the New England area and began his career as a furniture designer-craftsman in 1974. His furniture pieces have been exhibited in many American galleries and museums. While working as a staff member at Anderson Ranch in Colorado, he taught alongside Tage Frid, Sam Maloof, Art Carpenter, James Krenov, Alan Peters and other seminal furniture makers of the early studio furniture movement.
Aoi Huber Kono designed QUADRATINI MAGICI credenza for Laurameroni Design’s Intarsia collection; adding her signature style to an extraordinary collaboration that brought together an upscale contemporary furniture brand, a traditional master craftsman and his atelier, and an international group of avant-garde artists, designers and architects.
Toby Winteringham’s theatrical Rep Credenza, commissioned for the Birmingham Reperatory Theatre’s hospitality suite, is a marquetry tribute to his father, Graham Winteringham. The recently refurbished theatre was originally designed and built under the direction of Graham Winteringham’s architectural firm in 1971.
Silas Kopf has mastered the art of marquetry and is an accomplished artist and furniture designer-craftsman working from his studio in Easthampton, Massachusetts. Originally from Pennsylvania, he graduated from Princeton University with a degree in architecture. However, realizing that the arts and fine woodworking suited his temperament better, he landed a two year apprenticeship with studio furniture pioneer Wendell Castle. He later encountered the Art Nouveau furniture of Émile Gallé and Louis Majorelle. He decided to master marquetry to create a signature style and establish his niche in the studio furniture field.
Now, Silas Kopf is a serious artist with an irrepressible whimsical streak, and a conventional tenor uke seemed a tad boring. So, why not blend his frosty New England-Atlantic origins with his balmy Hawaiian-Pacific inclinations? Hence the “Flukelele” was born.