Aphrodite

Dimensions: 90” wide, 54” high, 28” deep

Materials: African Mozambique

Date: Made for show in 1978; subsequent commissions executed

Description: A rocking lounge chair/sculpture carved from solid, African Mozambique. The combination of scale, sensuous curves and negative space give the chair the power and grace of the Greek Goddess of Love. Staggered, laminated joinery and hidden, metal reinforcement are engineered to replicate the strength of steel yet retain the beauty and feel of natural wood.

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Thoughts on my work: The curving line is beautiful because it has grace, motion and power. It abstracts the essence of a classical ballet or a moving musical composition. It soothes like the ebb and flow of waves or the rush of water in a stream. It captures the universal magic of femininity.

Matador

Dimensions: Dimensions: 22” wide, 30” high, 24” deep

Materials: African Mozambique

Date: Completed for show in 1971; subsequent commissions executed

Description: Chair/sculpture laminated and carved in Mozambique. The sculpture connects the pedestal, seat, and arm in one uninterrupted line, resulting in a sweeping, graceful arc reminiscent of the classic pose of a victorious bullfighter.

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Thoughts on my work: Sculpture has three dimensions. My work has a fourth: the sensation of touch, and yet a fifth: the pleasure of use. If an object is conceived as a piece of sculpture, but feels good and also has a function, it is a richer experience for both maker and user.

Swahili II

Dimensions: 94” wide, 26” high, 32” deep

Materials: African Mozambique exterior, White Birch interior

Date: Completed in 1990 as a private commission

Description: Cabinet/sculpture with 4” thick doors and sides carved in solid Mozambique. Interior fitments include trays for bottles and glasses, pull-outs for stereo and television units as well as drawers for CD storage.

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Thoughts on my work: I enjoy the entire process of working with wood - from the idea of its origins in the living tree, through the excitement of bringing color and figure to the surface in carving; to the satiny feel of a wooden surface which is finely sanded and finished. I could achieve the same results in form in other media, and some would present less structural limitations, but I would miss the complex satisfactions of this natural material.

Satan's Tongue

Dimensions: 17” high, 48” wide, 24” deep

Materials: African Padouk

Date: Completed for show in 1982. Subsequent commissions executed

Description: Coffee table laminated and carved from solid Padouk

Michael Coffey at Work

Perception II

Dimensions: 27” wide, 54” high

Materials: African Mozambique

Date: Completed in 1980 for show; subsequent commission executed

Description: Mirror laminated and carved in solid Mozambique

Presentation

Dimensions: Face: 22” wide, 13” high (above rest); Pedestal: 20” wide, 16” deep; Overall height: 48”

Materials: White Oak

Date: Completed for show in 1982; subsequent commissions executed

Description: Dictionary stand, lectern or pulpit laminated and carved from solid White Oak. Two halves of face are joined with dovetails.

Heron I Foyer Table

Dimensions: 58” wide, 39” high, 17” deep

Materials: American Black Walnut

Date: Completed in 1985 for a private client. Subsequent commissions executed

Description: Laminated and carved from solid Walnut. One main drawer, upper left; secret drawer behind. The unit is attached to the wall by hidden bolts. The single leg rests on the floor.

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Thoughts on my work: I find the symmetry of most furniture boring. Symmetry lacks drama and adventure. Basically our preference for symmetry has to do with our intuitive need for balance, our physical and psychological adaptation to gravity. Asymmetry and imbalance are exciting because they challenge our basic sense of order and security. They suggest defiance of gravity, risk, daring, skill and mastery over superior forces.

Touch and Go

Dimensions: Dimensions: 96” wide, 84” high, 18” deep

Materials: African Mozambique wood

Date: Completed for show in 1992

Description: The union of two cabinets and a connecting sculpture carved out of Mozambique place this work squarely in the no-man’s land between functional furniture and non-functional art. The cabinet doors open to display interior drawers and shelves suitable for stereo or buffet use. The sinuous, dramatic form which connects them seems to balance on one toe, as if poised for flight. Hidden wall mounts complete the engineering of a massive piece of furniture which conveys lightness and delicacy.

Variations

Dimensions: Individual units are as follows:

1) Bar (left side of photo),

"Allegro" carving motif, 36" wide, 16" high, 16” deep;

2) General purpose cabinet (center of photo), "Crescendo” carving motif, 36" wide, 42" high, 12" deep;

3) Desk (right side of photo), "Counterpoint" carving motif, 42" wide, 14” high, 14" deep;

4) Shelves, each carved in a different motif, measure 16", 20", 36" and 42" wide, all 4" high and 12" deep.

Materials: African Mozambique and White Oak

Date: Completed for show in 1977; subsequent commissions executed.

Description: Wall system consisting of modular combinations of wall-hung cabinets and shelves. Individually mounted, the units can be grouped in any arrangement on a wall and can be combined with paintings, sculpture or other objects or decorations. Dovetail cabinet construction. All units are carved on the front and both sides.

Whale of a Bar

Dimensions: 128" (10'–8") wide, 98" (8'-2") high, 78" (6'–2") deep

Materials: Mahogany wood and veneer, Corian, electrical components

Date: Completed in 1994 as a commission for a private client

Description: A bar and serving center built into the architecture of the clients’ home, the unit consists of four major components:

1) a Corian-surfaced cabinet (against exterior wall) containing a refrigerator and wet sink. The cabinet also has utility drawers and compartments;

2) a Corian-surfaced serving bar extending into the room. Below the Corian top and accessed from the rear, the bar component houses lighted compartments and sliding trays for bottles, glasses and wine storage. Concealed skirt lights located under the bar create an illusion of floating. Interior fans to dispel heat build-up complete the electric system;

3) a carved wall panel (above sink); and

4) a connecting unit (on the right side), both non-functional, complete the assembly which breaks down for transportation. All units except the sink cabinet are laminated and carved from solid Mahogany.

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Thoughts on my work: In using furniture as an artistic medium I am sometimes constricted by the necessary dimensions or functional requirements of a particular piece. However, I consider these an additional challenge rather than a limitation. I like the engineering of things that work. I find it a doubly rewarding accomplishment to solve both the artistic and technical problems in a single object.