A Childhood in Feathers

I was just 7 years old in November of 1984 when my father took me duck hunting for the first time. 

We set up in a shore blind on a tiny island near Jarrett Bay—a spot my dad called The Cedars. That morning, I shouldered a bolt-action .410 shotgun and took my very first shot: one shot, one duck—a red-breasted merganser. I still remember the way it felt: exhilarating, humbling, and somehow instinctive. That single moment lit a fire in me that still burns today.

Even as a young child, birds fascinated me. But waterfowl? They were something else entirely—graceful in flight, mysterious in their migrations, bold in color and behavior. It wasn’t long before duck hunting became a yearly ritual. Every season brought new blinds, new memories, and deeper roots along Core Banks. 

Late in the season, the redheads would arrive—majestic birds that, to me, represented the pinnacle of waterfowl. I still have my very first decoy: a redhead drake carved from juniper planks with a silhouette-style head. That decoy sparked another passion—one that would shape my creative life. 

The Craft Behind the Hunt 

Before every season, my dad and I would ready our decoy spread. It was a ritual as much as it was preparation. Some were foam Herter’s, others plastic or wood. At the time, bufflehead decoys weren’t commercially available—a problem, since they were a prime target in our region. So we improvised. We built our own from Styrofoam, plastic bottles, cork, and, our favorite medium, wood—usually juniper or pine. 

We painted them by hand: bold blacks, clean whites, soft grays, and just enough variation in the head positions to give our spread a lifelike, flocked look. They weren’t perfect—but they worked. And they were ours. 

A Carver’s Evolution 

Today, my carving style has matured into what’s known as the decorative smoothie. This technique emphasizes smooth contours across the body and head, with carefully raised feather details in specific areas—especially around the wing primaries and speculums. I put extra focus into the bill, shaping the nostrils, nail, and mandible with precision. A wise carver once told me, “The bill is the most important feature, regardless of how well all other aspects of the carving portray.” That advice stuck. 

My favorite bird to carve? The North American drake green-winged teal. With its compact neck, vibrant green wing patch, and sleek profile, it’s an agile beauty both on the water and in flight. Its unique silhouette makes it a joy to replicate in wood. 

To create the visual depth of feathers, I incorporate raised carving to cast shadows and build texture. I blend paints using a mix of airbrush and hand brushes—liners, fans, filberts, and grainers. I work primarily with Jo Sonja acrylics, combined with flow mediums and slow-dry additives for smooth blending and layered details. 

The Wood That Brings It All to Life 

For carving, I prefer Tupelo Gum—a tree native to swampy southern regions. The best part of the tree is the base, where the grain is tight and soft. Tupelo sands easily, rarely spits, and accepts paint beautifully, making it the ideal canvas for carving. 

More Than a Hobby 

Decoy carving isn’t just a pastime for me—it’s a labor of love. Each piece holds hours of work, deep attention to detail, and a personal connection to the birds that first inspired me decades ago. My goal with every duck is to capture its essence—not just in shape and color, but in spirit. If someone can look at one of my carvings and feel a little closer to the wild, then I’ve done my job.