KILLSCROW: one word, pronounced exactly as it reads. This is a Delaware Lenape name passed down from my late grandmother Sharon. We have slowly adopted this name for all the work Darrick and I are building, a collaborative brand still very much in the works. Darrick and I have big dreams for Killscrow, all surrounding the idea of a life together selling items we make, food we grow and space we build in an area with a wilderness.  Ley Lines was the original online space for that, but soon everything will be streamlined as Killscrow only. Thank you for all the support! You know who you are.

Thank you Neil Harrison for the logo love!

Full site is currently in maintenance, but coming soon. 


still playing with size

Lana Fee Rasmussen. Killscrow
 From the summer drawing series, I've drawn much inspiration to convert those images larger. At first I considered having prints made for me, and then became very possessive. I decided I wasn't ready to send anything to anyone that I hadn't touched. Instead, I've decided to experiment with different ways of reproduction from the original images I pulled from the series- working as if the original 5"x7"s are my demos/sketches, as I had done little to no sketching on that collection. Each of these is 22"x30", ink on Arches paper.
Lana Fee Rasmussen. Killscrow

Lana Fee Rasmussen. Killscrow

Lana Fee Rasmussen. Killscrow
Lana Fee Rasmussen. Killscrow


Found in Print

Shaker Furniture, Photo by William F. Winter
Carpenter's Bench. Photo William F. Winter
 The function, craftsmanship and ethos of Shaker life has always been intriguing, especially how it effects their built environment. There are many romantic quotes from the sect regarding their approach to craft, none of which they intended to sound romantic to us of the outside world I'm sure. There is certainly something in the Shakers' closeness to every material aspect of their lives that so many young people are trying to connect with once again- though I'm sure you won't see me or any of my friends rising into the workshop at 5am, peforming my "sundry chores" before 6am, working aaaalll day until the "bell on the roof of the dwelling sounded the five-minute warning for supper" at 6pm. Never say never. 

From Mother Ann:
Do your work as though had a thousand years to live, and as if you were to die tomorrow

These images and words from 
Shaker Furniture: The Craftsmanship of an American Communal Sect
Edwards Deming Andrews and Faith Andrews
Shaker Furniture, Photo by William F. Winter
High pine desk used by trustees. Photo William F. Winter

Shaker Furniture, Photo by William F. Winter
Pegs and pulls. Photo William F. Winter
The craftsmanship of the Shakers, being a joint or community enterprise, is definitely distinguished by that fact from the products of individual effort. One result, of course, was a tendency towards uniformity. But more important was the evolution of certain standards of excellence whose widespread application was made possible by the compactness of the group and the genuineness of its ideals. Talent was stimulated by social contacts, the constant exchange and interaction of ideas and the consciousness of a united destiny.
Shaker Furniture, Photo by William F. Winter
Corner of early Shaker schoolroom. Desk, bench and hanging rack.
Photo William F. Winter


Yaffe Mays

Yaffe Mays, Personhood
Personhood, exhibited in 'DUBH - dialogues in black' at the American Irish Historical Society on Fifth Avenue in New York in October/November 2011 and at the Oliver Sears Gallery, Dublin in February/March 2012.

Last year a lot shifted at CR Fine Woodworking with the appointment of Laura Mays as its new director. On Darrick's end, he feels such overwhelming gratitude for sharing his first two years in the shop with Laura's first two years as director- momentous, life-changing years for both. On my end, I am more closely involved with Laura's partner, CR graduate Rebecca Yaffe and their gorgeous off-spring Thea. After weeks of stalling, I finally realized why I found this post so difficult to articulate. It is due to the deeply rewarding nature of my personal relationship with Yaffe Mays as a family. Although, I find the personal is essentially always a part of the woodworking community sprung from College of the Redwoods. It is what students rely on when they feel a little bananas in the shop and need to commiserate. It is what compels the instructors to open the doors of their homes to entire classes overnight each year. It is what bonds families of students outside of the shop. And it is certainly what makes the work special.

All things personal aside, the creative partnership of Yaffe Mays has recently opened an exciting inaugural group show at San Francisco's (seriously new) New Black Gallery- an impressive 9,000 square foot industrial space in SF's Mission, which appears to be marketed as a retail environment/gallery. The opening in September seems to have been nothing short of a wild success, for the space and for Yaffe Mays.  We cannot wait to explore the gallery ourselves and are thrilled at the prospect of such an interesting collaborative space being invested in makers from the CR family.

More on Yaffe Mays:

Laura Mays Interview on Hock Tools Blog: PART I, PART II

Profile Laura Mays/Yaffe Mays at Handful of Salt

*Some images shown are of work "made by one or other of us before we formed the partnership." 

Yaffe Mays, Wholeness
Wholeness, 2012. Photo David Welter

#2 Light

Yaffe Mays, Moon Spoon Holly. December 2010.
Moon Spoon Holly. December 2010.

Yaffe Mays, Sligo 1, 2009
Sligo 1, 2009

Yaffe Mays, Sligo2 'The Twins' Irish walnut, oil finish, 2009.
Sligo2 'The Twins' Irish walnut, oil finish, 2009.

Yaffe Mays, Two of ten boxes made for the Of Colour in Craft exhibition. 2002.
Two of ten boxes made for the Of Colour in Craft exhibition. 2002.

Yaffe Mays, Stefan 4 Corrugated cardboard. 2010
Stefan 4 Corrugated cardboard. 2010