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Kingsland Table

The Kingsland Dining Table was designed and made during the first Covid-19 lockdown initially for Gareth’s own family. During an intense period of isolation, this unique piece of furniture is a very personal project for Gareth. Pared back to the very minimum, the table celebrates simplicity and purity of form. The design is honest, allowing the craftsmanship to shine through in the highly executed joint details. An elegant ten-seater, made with family activity and communal dining in mind. This exclusive piece would match well with our other designs such as the Brodgar dining and occasional chairs.

To enquire or to discuss bespoke commissions please contact us or head to The New Craftsmen to make an order.

Material: Pale English Ash (other materials are available on request)
Dimensions: Height: 74cm, Length: 264cm, Width: 80cm

The Kingsland table frame combined with a recycled school tabletop in Gareth’s home

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Flat Fish

The Flat Fish is the fourth and latest edition in the Si02 series. Gareth employs a new technique of 3D printing and continues to stretch the limits of printing in raw sand.

The vessel captures an act of digital manipulation in physical space. The perplexing form unites a plethora of vessels within one singular object. It appears to warp and stretch before your eyes, the waved grooves twisting and bending like lines in the sand.


For enquires please contact Sarah Myerscough Gallery.




LENGTH: 90 cm




All Images copyright Jacob Marks

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Stitched Sideboard

Photo by Harry Crowder

The Stitched Sideboard is a collaboration between embroidery and braiding specialist Aimee Betts and furniture designer-maker Gareth Neal. Commissioned by The New Craftsmen and exclusively handmade by luxury cabinet makers, Lydiates in Herefordshire. The cabinet embodies craftsmanship and the sensitive approach to collaboration between two highly skilled craftspeople.

The Stitched Sideboard is a four-door sideboard made with hand-braided front and side panels using a combination of tonal coloured cords. The finely spaced stitchwork holds the individually milled slats in position and allows for the structure of the woodwork to deliberately be seen, both internally and externally whilst the considered cabinetry in solid Ash provides the perfect framework for the intricate needlework. The sideboard has two internal shelves that reference traditional haberdashery display cabinets and the doors are finished with luxury brass hardware and hand-milled brass handles.

The stitching, reminiscent of rows of wishbones, has been meticulously hand-braided by Aimee, using a combination of leather, hemp and waxed cotton cords, to a distinctive Ash panel frame. The doors and side panels are specifically designed to incorporate Aimee’s stitching techniques – each of the dowels and batons are cut to size by hand and held in place by the cords.

For enquires, specifications and bespoke options please visit The New Craftsmen.



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With each iteration of the vessel, Gareth tests the limits of craft, both in materiality and human perception.

15 years on from the production of his first vessel, but wanting to challenge the ever-changing boundaries of digital manufacturing and its relationship to craft still, Gareth employs a new technique of 3D printing.

Despite consistent progress in digital CNC manufacturing, there are still limitations. In a bold move Gareth steps away from his expert material, wood, and for the first time explores the possibilities of another raw material, sand. The fluid, yet solid substrate allows for endless configurations, giving Gareth the opportunity to materialise designs he once could only dream about.

Gareth believes the machine to be an extension of the human hand, and that the eradication of the chisel does not deduct from the craftsmanship deeply rooted within every stage of the production of these vessels.

For enquires please contact Sarah Myerscough Gallery.



HEIGHT: 65 cm



HEIGHT: 90 cm





HEIGHT: 40 cm

All Images copyright James Champion

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A robotic 6 axis CNC arm, an extension of the craftsman’s hand and tacit knowledge, is programmed to hack a block of oak. By exploring the weaknesses, glitches, fractures, splits and rings of time stored within, a distorted Georgian archetype is extracted. Carving an artefact, a render, that could never have existed until the moment it was hacked. Charred to preserve it for another century.

The Hack Chair II is a continuation of Gareth’s conceptually rigorous research into digital crafting techniques.

For enquiries please contact Sarah Myerscough Gallery


Carved green-oak, traditional Shou Sugi Ban charring

Width: 48 cm
Depth: 40 cm
Height: 97 cm


Carved green-oak, traditional Shou Sugi Ban charring

Height: 97 cm, Width: 37 cm, Depth: 40 cm

All images ©Petr Krejci

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In 2017 Gareth’s van containing the original Block III was heartbreakingly stolen prior to the work being delivered for PAD. Two years of financial recovery and a renewed search for the perfect piece of timber followed. After an emotional journey Gareth is delighted to unveil the new Block III for PAD 2019

Block III is the third and latest edition of the Ancestral Fossil series.

With a likely future as firewood, Gareth rescued these impractical sections of heartwood and sculpted the knotted, gnarled lumber into two fluid forms through a combination of progressive digital crafting techniques and intricate traditional handwork. The greenwood trunk appears split in two to reveal a modern interpretation of a classical form, drawing this ancestral fossil from history into the contemporary world.

Felled for conservation purposes, these dense hardwood blocks store within them a wealth of CO2. Rescuing these unpractical lumps from being burned not only fossilizes their individual century-old beauty but also captures the carbon within for them life. These sculpted carbon storage units and the rich history captured within their rings are an alternative contribution to the health of our planet.

For enquiries please contact Sarah Myerscough Gallery


HEIGHT: 80cm, DEPTH: 80cm, WIDTH: 43cm


HEIGHT: 80cm, DEPTH: 37cm, WIDTH: 80cm

Images © James Champion



HEIGHT: 43cm, DEPTH: 35cm, WIDTH: 45cm

Images ©Petr Krejci





WIDTH: 132cm, DEPTH: 36cm, HEIGHT: 43cm

Images © James Champion

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Inspired by the traditional 1780’s George III commode, we have reinterpreted its design for a contemporary audience. Our latest edition of the George Chest in Ash is produced by a series of rectilinear cuts. The design has a rugged sophistication and the commode is seemingly emerging from the carved fragmented block of wood. The design was achieved through the combination of a computer-controlled routing machine and hand-carving techniques, merging notions of history, traditional craft, and contemporary design.

 The George Chest was acquired by the Victoria & Albert Museum in 2013 and is on display in their permanent furniture collection.
For enquiries please contact Sarah Myerscough Gallery 



Width: 109 cm, Depth: 51 cm, Height: 81 cm

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American Hardwood Export Council and Benchmark Furniture initiated The Wish List, an exhibition at the Victoria & Albert Museum during London Design Festival. It brought together a stellar list of architects and designers for a unique collaborative project. We were excited to be paired with Zaha Hadid, who’s brief was simple and open: to create tableware made from wood. We approached the project by thinking about the fluid dynamic of Zaha Hadid’s designs. These original forms were inspired by traditional water carafes and the language of her work. We were keen to engage with Hadid’s advanced computer modelling software, pushing the boundaries of digital craftsmanship further. As the design progressed, we became interested in the idiosyncrasies of traditional hand processes such as hand thrown pottery, raised silverware, or fluted carving, and how these could be simulated through digital fabrication. Using the traditional vessel form as a starting point and subverting its appearance to dramatic extremes, the design embodies a sense of the handmade through the arm of a robot, questioning the viewer’s perception of craft and the handmade.


VES-EL was the winner of The Wood Awards Bespoke Category in 2015.


For enquiries please contact Sarah Myerscough Gallery







HEIGHT: 755mm



HEIGHT: 34 cm

All images ©Petr Krejci

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At 2.2 meters tall, this 3 drawer cabinet in English sycamore was designed to honour cabinet making, with a subtle subversion of traditional frame and panels. The pieces celebrate’s craftsmanship in every detail, from hand, cut dovetail joints to fielded Cedar draw bottoms. It was our intention to create a cabinet that had a classical appearance but with a form previously unseen, to demonstrate Gareth’s original training as a cabinet maker and the quality of the studios design and making skills.

Gareth Neal Jack door openGareth Neal Jack Detail (1)petr-krejci



Width: 53 cm
Depth: 40 cm
Height: 220 cm

For enquiries please contact The New Craftsmen

All images ©Petr Krejci

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Anne Chair

Anne Chair

American walnut


The Anne Period marked a shift in British Furniture design. Based on a traditional 1730 Queen Anne side table and chair, we designed a contemporary linear version in American Walnut. The chairs design is subtle, only in certain angles and lights is the concept evident. It was originally made by hand with a small bench saw to prove that digital fabrication tools are not always necessary. Both the Anne Table and Chairs promote the craft and skills of the handmade in an ever growing world of mass production.


The pair of Anne Chairs were exhibited at the Saatchi Gallery and are now featured in the Shipley Art Gallery, a contemporary art collection in Gateshead, Newcastle.
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