Lutherie, for me, is not production but practice. I build one instrument at a time, usually no more than a single guitar in a year, allowing the work to unfold slowly and attentively. The aim is not perfection but integrity—an instrument shaped by hand, responsive to the materials, and reflective of the same patience and discipline required in any well-crafted life. Each guitar is an exploration rather than a repetition.

My instruments follow the traditional Spanish classical design associated with Hermann Hauser’s 1937 model, itself deeply indebted to the work of Antonio de Torres. They are built using the Spanish heel construction, in which the sides are integrated directly into the neck block rather than attached to a separate, set neck. This method, along with the predominance of hand tools in the workshop, encourages a close dialogue between maker and material, where adjustments are guided by touch, sound, and experience rather than by machinery alone.

Over the years I have worked with a range of tonewoods—various rosewoods, mahogany, pau ferro, walnut, cherry, maple, ebony, and other distinctive species—each chosen for its particular voice and character. No two pieces of wood are the same, and no two instruments are alike. Every guitar emerges as an individual object, shaped by its materials and by the care invested in its making. They are, quite simply, made with love.