I make the following types of fine handmade guitars.
Classical guitars - both contemporary and traditional ones, 7/8strings.
Romantic guitars - in the Parisian style of the mid 19th century.
Baroque guitars - after makers like J. Voboam and A. Stradivarius.
Renaissance guitars - copies of B. Dias guitar made in 1581.
Vihuelas - based in 16th century drawings.
The guitars are made by hand with special attention to wood quality, acoustics, detail, and the building process itself. I prefer traditional building methodolgy and techniques, and I use (almost) exclusively organic materials, also in glues and laquer.
I can tailor guitars to the needs of my costumer at request.
I perform repair and restoration work on damaged instruments. The process consists of an assessment of what must be done to bring the instrument to a playable condition though respecting its integrity, determining which problems are structural and which aesthetic, to arrive to a final evaluation of what the ideal repair would be. Repairwork is done with attention to detail and with a commitment to finding a solution that addresses the root of the problem instead of merely postponing the damage. I always consider the instrument as a historic artifact which entails applying materials and techniques that respect the way they were originally made. I use only organic materials. All work is charged by the hour.
Guitars come to life through meticulous work - a constant measuring and listening to the different components and how they fit together and complement each other. This is the reason why I prefer working with my hands. I like to feel the woodstructure, the changes in temperature and notice the small variations in the materials. Although I use some machinery, my work is predominantely manual. I am confident in that manual practice and experience provides just as quick and stable results as machine work. In my work, I use the acoustic functionality of the instrument as a departure point and work the elements towards achieving instruments that are energy effecient.
What I find fascinating about stringed instruments with a fixed bridge is how sustain is created with a 'loose' end. That is, when played, the top dances all over the place and needs to feed the right kind of vibrations back into the string to keep it singing for a long time. Working these acoustic questions through the materiality of the instrument as an object is what makes this craft fascinating. Sound is intangible, but at the same time a physical condition created through and within materiality.
Guitars are not only acoustic, but also aesthetic objects meant to be looked upon. I try to make appealing guitars that both challenge the traditional aesthetics with new ways of solving the elements, and praise the old methods and their looks.
I've been making a lot of different kinds of guitars, motivated by my interest in guitar history, from the XVI century to present. This has given me a good understanding of the development of the guitar as a cultural and musical instrument, as well as what it is that affects and creates the different kinds of timbre in different historical guitars.
I'm currently researching norwegian spruce as tonewood. This project is funded by the Norwegian Crafts Institute and involve geografical search and testing of different qualities.
Guitars of Stradivarius
I've done research on the surviving guitars made by Antonio Stradivari, Particularly focusing on methods of construction with internal mold and techniques of woodwork without the use of electric machinery.
I conducted a long project on latinamerican guitars as central to folkloric musical expression, and later focused on the charango and ronroco as case in point. In 2011, this work materialized into a research thesis for the degree of Master in Ethnology (Kulturhistorie) at the University of Oslo. Link here (in norwegian).
As a part of a guitar that was comissioned for the recordingproject of the complete works of Francios de Fossa by virtuos guitarist Runar Kjeldsberg, I did tests and research into how romantic guitars were made in 19th-century Mirecourt and Paris.
I have an ongoing project on baroque guitars, gathering and studying techichal drawings of guitars made by different makers at different places in the XVII century.