The story tellers: Joe Adams and Erich Elfeldt
Above: Erich Elfeldt (left) and Joe Adams, TimberFire Studio, Texas, USA
The Maker of the Year Awards, presented by Hare & Forbes, is all about discovering and celebrating talented woodworkers and woodworking projects from around the world. Now in its seventh year, the Awards offer a fantastic platform to share your work with the broader woodworking community, plus there's more than $20,000 in prizes to be won. Entry is open to amateur, professional and student woodworkers. Find out more and enter here. During the course of the competition we'll learn more about some of the entrants.
Joe Adams and Erich Elfeldt create bespoke works from their TimberFire Studio in Texas, USA. Through their designs they tell stories that reflect their history and character, and that of their clients. We learn more in the interview with Joe Adams below.
Can you tell us about Timberfire Studio? Working with your brother, who does what? How long have you been working together?
TimberFire Studio is a collaboration between Joe Adams and Erich Elfeldt. We’re not related by blood, but we’ve been best friends since childhood and have always regarded ourselves as brothers. My mother used to introduce us by saying, “Joe is my oldest son and Erich is my favourite son,” which captures the spirit of it rather well.
We launched TimberFire in 2014 after spending close to two decades operating a high-end renovation business together. In that sense, it’s really an extension of a much longer partnership – one that’s grown closer over time through shared experience, trust, and a natural alignment in how we see the world.
Our roles naturally complement one another. Erich has a strong grounding in structure and precision, coming from his involvement in machining and construction. I’m more focused on concept development and artistic direction, but my project management experience has proven indispensable in guiding the build process. In practice, though, there’s a great deal of overlap as we work through ideas together and resolve the details side by side. Over time, our collaboration has developed into a dynamic where the end result is stronger than what either of us could arrive at independently.
18 Holes – "A one-of-a-kind coffee table created for anyone who enjoys spending a little time hitting the links." Black walnut, curly maple, polished stainless steel. Photo: Mike Roberts
What other experience, professional or otherwise do you each bring to the partnership?
Our paths into furniture were quite different and anything but linear, and that’s part of what shapes the work. My background started in the arts – I was an accomplished youth cellist and attended Houston’s High School for the Performing & Visual Arts, where I studied instrumental music before falling in love with photography and switching majors. That transition proved important in shaping how I understand the interplay of light and shadow. I then completed a business degree in finance at university, and spent about fifteen years in corporate management roles before we started our construction company. I’ve always had a foot in both worlds – creative and analytical. My early introduction to the arts influenced how I think about composition, while my later work in the business world trained me to approach problems more systematically. Over time, those two ways of thinking have become complementary rather than separate.
Erich’s path was more technical. He studied woodshop and architectural drafting in high school and then apprenticed as a machinist for a few years before joining the Army. He served as an armorer in Germany and then as a forward scout in the 101st Airborne during the first Gulf War. After leaving the military, he worked in construction materials distribution and jobsite management. His life experience has instilled discipline, precision, and resilience – qualities that reflect in everything we build.
We both place a strong value on giving back – mentoring other makers and sharing what we’ve learned along the way. Supporting broader efforts within the woodworking community has become an important extension of the work we do in the studio.
Longhorn, a tribute to the iconic Texas Longhorn in Texas pecan and mesquite. The legs are emblazoned with cattle brands from the frontier days of Texas through 1860. Photo: Joe Adams
Who do you mainly make for? What do you specialise in? How does your work differ from other custom shops?
We are sought out by people who are looking for something deeply personal - discerning collectors, designers, and homeowners who see furniture as more than just functional objects. Our clients trust that the pieces we create will make a statement – conveying rhythm, provoking thought, and evoking an emotional response – not just seen but felt.
All of the furniture, lighting, and home décor we design is meticulously crafted and one-of-a-kind. Over the years, our work has been recognized at a number of state and national exhibitions including Best in Show honours. Clients and jurors have often remarked on the level of detail, which is something we place a great deal of importance on, even in areas that may not be immediately visible. Our pieces always carry a strong narrative and sit somewhere between fine furnishings and sculpture. We describe it as functional art. The intention is that the work serves a purpose, but also holds a presence in the space.
We’re less interested in working within established styles than in developing something original. We are primarily inspired by architecture, nature, and the mythology of the American West. What sets our work apart is that we approach each piece as a form of storytelling rather than just problem-solving. We’re not just asking, “What does this need to do?” but “What should this piece say?”
Joe Adams' grandfather Jonce Adams on his horse Tango
What does “art forged in wood” allude to?
“Art Forged in Wood” speaks to both the process and the outcome. My great-grandfather was a master blacksmith who was known for taking the time to make items that were both useful and beautiful. So to me, the word “forged” suggests something shaped with care and persistence to fulfill a vision. An idea worked through until it feels resolved in a physical form. It also points to durability. We want our work to last, not just in a material sense, but in the way it continues to resonate with the people who live with it.
Take Flight is an aviation themed lamp inspired by the Golden Age of Flight and the Art Deco aesthetic. Photo: Joe Adams
Where did you learn your skills?
It’s fair to say that we’re self-taught, never having had formal training or an apprenticeship, but we’ve clearly benefited from people generously passing on their knowledge.
We both grew up alongside fathers who worked with their hands and mothers who provided a steady exposure to the arts – music, museums, and theater. That combination set the foundation. From there came practical experience on construction jobsites – we specialised in stain grade millwork and high end cabinetry – and then spent all our leisure time honing woodworking skills in the shop.
One of the things that has helped us is challenging ourselves to master a new technique with every single project. This is something we continue to do to this day. The other key has been seeking out a variety of mentors and learning something from each of them. It’s been a gradual process. We believe woodworking is a journey and everyone has their own path. That’s why we advise other makers not to judge their work by anyone else’s – but instead to evaluate themselves by the progress they have made over time.
Giving back is important and we’ve become closely involved with leadership of the Texas Furniture Makers Show – an annual competition and exhibition. This event features some of the best makers in Texas but also puts a lot of emphasis on encouraging emerging artists. Craftsmanship doesn’t exist in isolation – it depends on a healthy, engaged community, and we’ve tried to do our part to contribute as much as possible.
"Six flags over Texas" is a homage to the six nations that have held sovereignty over the land since 1519, from left to right: Spain-France, Mexico-Texas and CSA-United States. Photo: Joe Adams
Joe, through your work, it’s apparent that you and Erich are storytellers. Where do the ideas come from?
We get asked that a lot. I initiate all the designs so Erich likes to tell people that Mom dropped me on my head as a baby and knocked something loose. Usually, it begins with a theme or concept rather than a form. An observation, a memory, or even a dream can become the seed for an entire piece. We’ll start with an idea and then explore how that can be expressed physically through materials, structure, and proportion. Because we’ve known each other so long, there’s a shared visual language that allows the storytelling to evolve quickly.
One of our mentors taught me to keep a sketchbook and continuously add new material – sometimes a full drawing – other times just a few scribbled lines or a future detail to consider. We return to this repository often as it helps inform new work. Another taught us the value of modeling different variations – starting digitally in CAD and followed by building a maquette or even full scale prototype with inexpensive materials. This iterative approach has been invaluable when perfecting designs.
Joe Adams and Erich Elfeldt's entry in this year's Maker of the Year Awards, presented by Hare & Forbes is Lonestar, an equestrian-inspired accent table that reflects the enduring cowboy heritage of Texas. Photo: Mike Roberts
What’s the background to the Lone Star table? Does it have any personal significance?
Yes, it’s deeply personal. My grandfather was amongst the last of the old-time Texas cowboys and, much like the Willie Nelson song, has always been my hero. I have his saddle, bridle, and spurs on display in my home. The Lone Star table came from contemplating the sculptural nature of Western curb bits as well as the structure of his saddle.
What struck me was how much intention there is in those objects – the balance of strength and refinement. I began to see them not just as tools, but as carefully resolved forms shaped by generations of use and tradition. From there, the design developed as a way to translate those qualities into furniture.
We decided to learn the art of marquetry for this project and it allowed us to include a tribute to my grandfather’s prized stallion, Tango, in the drawer. This table ultimately became a way of honoring our heritage – something grounded in personal history, but expressed through a contemporary lens.
Texas Bowie, a tribute to the fallen heroes of the Alamo. Photo: Joe Adams
What are your preferences as far as the woods and other materials you use?
We like to work with a mix of materials – curated wood choices alongside metals such as aluminum, brass, and stainless steel, as well as leather. Ultimately, all of the materials are carefully considered for how they serve the overall theme of the piece.
We’re drawn to hardwoods with a strong visual presence – depth, figure, colour, and natural variation that deserve to be highlighted rather than hidden. Our primary supplier, Berdoll Sawmill, specialises in Texas woods – mesquite and pecan – and lets us know when he encounters something special because we will do it justice. Other favorites include black walnut and hard maple sourced from the northern United States.
A few years ago, we acquired a collection of Australian burl slices – coolibah, jarrah, red mallee, grey box, and redgum – and began exploring where those materials might lead us. The character of the burls, along with the context they carry, opened up a different line of thinking. This led to a piece called Southern Cross which incorporated some of the exceptional burl and referenced elements of the namesake constellation, Australian flag, and Aboriginal dot art as well as sand symbols. It was based on a George Nakashima piece interpreted through our own design language.
Southern Cross in redgum and Texas walnut celebrates Australia with a unique painting of an idyllic night sky. Photo: Joe Adams
What are your favourite processes?
In the workshop, there’s a great deal of gratification from the more hands-on aspects – milling, joinery, and shaping. We work together but specialise in different processes with one leading and the other supporting. Those stages require focus, but they’re also where the piece really begins to emerge. We place a lot of value on precision and routinely utilise machinist measurement tools to help maintain tight tolerances. We also make use of jigs and templates extensively to ensure consistency from one element to the next.
We particularly enjoy solving the engineering problems inherent in building new designs and overcoming the inevitable complications that occur along the way. Sometimes there are surprises that keep things interesting – we recently found a bullet embedded deep in a board from a squirrel hunter’s errant aim years ago. Our customer was delighted and asked that it be included in the finished piece.
Twin Sisters – "These matching table lamps honour the legendary pair of canons that helped the Republic of Texas win its independence from Mexico." Photo: Joe Adams
What is the most important thing you and your brother want to communicate with your work?
We’re committed to creating objects that carry meaning beyond their function. Ideally, a piece should capture a person’s attention and draw them in to discover more. It should reward a closer look by revealing new details from different perspectives. The longer someone spends with it, the more it should offer. That sense of gradual discovery is what elevates our furniture and allows it to hold interest beyond the initial impression.
We also want people to recognise the pride we have in our work. We had custom signature coins minted in Canada and embed them in the bottom of everything we make. It’s a subtle marker of authorship, but also a way of reinforcing the idea that each piece is complete in every respect and carries our stamp of approval.
All Hat, No Cattle. The phrase is a well known Texas idiom used to describe the decked-out "urban cowboys" who'd never stepped foot on a ranch. The piece was inspired by Joe Adams' grandfather's worn cowboy hat, which resembled the one Robert Duvall wore in Lonesome Dove. Photo: Joe Adams
Do you have any suggestions for others who would like to bring more artistry into their work?
Our advice to other makers wanting to develop their own designs is always the same. Find your voice. It’s worth taking the time to understand what you’re drawn to beyond the technical side of the craft. Developing a point of view is important and may come from studying existing furniture styles and other makers to see what resonates with you. Don’t copy – find inspiration. Looking outside of furniture into art, architecture, and music can be helpful as well.
As soon as you develop a sense of direction, write down a set of criteria to guide you when evaluating new design ideas. For example, the design tenets we apply to every project are – heirloom quality, visually compelling, clean lines, negative space, curated woods, mixed materials, precision, tactile, and refined. The objective is to settle on a recognisable style even if each piece is different.
It’s very important to consider every last detail. Much of the magic happens in refining the small things – how a line carries through, adjusting proportions, and making sure each element relates properly to the whole. That’s where a piece begins to feel intentional rather than assembled. Custom furniture is ultimately a collection of decisions, and the cumulative effect of those decisions is what gives it presence. When each part is thoughtfully considered, the whole tends to carry a greater sense of purpose.
Challenge yourself, don’t get stuck in a box, step out of your comfort zone, and take the time to get it right. If something doesn’t work out, toss it in the rubbish bin and try again. We once made 18 variations of the same table leg before we were satisfied. Good furniture makers are stubborn and don’t know how to quit. Growth comes from a steady push into unfamiliar territory. Success comes from moving forward – one piece at a time, learning as you go.
Erich Elfeldt and Joe Adams in the workshop
Learn more about TimberFire Studio at timberfire.com
