Artist Mark Levin presents a stunning collection of handmade wood furniture and sculpture. Visit his website to view more of his work.
Café Dining Table, White Oak, 30” x 40” x 40”
I grew up in rural Ohio, where we had a small fruit orchard. As the only boy among three sisters, I was responsible for maintaining the fruit trees from age eight until college. From my perspective, my youth was nothing but raking, picking, and pruning. I wouldn’t say I liked it, but I kept my complaints to myself, as my mother would only point to another task on a small blackboard in the kitchen. This is what happens when your parents come of age during the depression.
Allegretto Leaf Hall Table, Cherry, 33” x 52” x 32”
My journey from rural Ohio to the art world was not a childhood dream but a gradual evolution. I discovered joy in creating things, and this simple pleasure eventually led me to a path I never thought I would tread—the art world.
Johnny Apple Seed Coffee Table, Cherry and African Padauk,17” x 32.75” x 30.5”
At art school, I began to see the importance of all the chores my parents had me do in the orchard. The discipline and patience I learned from maintaining the fruit trees translated into my art. My sculpture and furniture naturally evolved from those bushels of apples, pears, and the mountains of raked leaves.
Boopsie Bench, White Oak, 20.75” x 32.5” x 11.5”
This path into the art world was like breaking in a new pair of shoes. At first, they’re uncomfortable, but with time, they become bearable. Unfortunately, by the time they feel comfortable, the leather is tattered, and the heels are worn down. Without the shoehorns, my creations and I would have evaporated long ago. These “shoehorns” were the support and encouragement I received from my family, friends, and mentors, without which I might have given up on my art.
Bow Shelf, Australian Lacewood, 10” x 42” x 10”
As a businessman before an artist, I bring a unique perspective to my studio paradigm. I believe in meticulous planning and tracking, which is reflected in my creative process for new work. It starts with pencil and paper plus full-scale drawings, and I often make a maquette of the piece.
Sapele Flower Petal Shelf, African Sapele, 34” x 55” x 28”
Every process step is planned, tracked, and priced in an MS Excel spreadsheet. This business-like approach ensures that I stay organized and focused, allowing me to bring my artistic vision to life.
Caitlin’s Nymph Bench, Ash stained Red, 31.5” x 45” x 12.5”
The heart and soul of my work lie in the building process. I primarily use the stack laminated process, which offers excellent creative flexibility. With this technique, I glue smaller hardwood boards together to create large sculpting blanks. These blanks are then shaped using chainsaws and power carving tools, followed by hand gouges, files, and rasps to refine the form. The smaller details are then worked on using rifflers and jeweler files.
Blended Heart, Ash stained Red, 19 ½” x 20” x 4”
After completion, I often find it difficult to immediately determine if I’m satisfied with the piece. The creative process can be a smooth flow or a battle. But it’s only when I see the piece later, at a collector’s home or an exhibition, that I can truly judge the work.
Grace Kelly Leaf Coffee Table, Alder, 16” x 52” x 30”
Sometimes, I see that the work is a visual symphony; other times, I recognize the need to change a few chords. But this ongoing dialogue, this emotional depth of the artistic process, stays between the work and me.
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