Gregory Beson

New York, USA

A Mastery of Wood Meets Innovation Inspired from Inherited Traditions

The Bio

Gregory Benson works primarily with wood, approaching the material with patience, care, and close attention. His practice is rooted in respect for the material’s inherent qualities—its grain, resistance, and memory—allowing form to emerge through dialogue rather than imposition.

His long-standing engagement with music informs the rhythm and pacing of his work. Ideas of tempo, repetition, and variation shape a process that balances intuition with structure. Across furniture, lighting, and functional objects, Benson’s pieces reflect a quiet dialogue between material, hand, and use.

Founded in New York in 2018, his studio operates from a Brooklyn atelier where all works are developed through direct, hands-on fabrication. Benson lives and works in New York City.

Get in touch with us if any inquiries into Gregory Beson’s work

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The Products

- Tides Cabinet
- Price on request
- Gregory Beson
- Tides Side Table
- Price on request
- Gregory Beson
- Raul Coffee Table
- Price on request
- Gregory Beson
- Lucie Chair
- 2.475 EUR
- Gregory Beson
- ex. VAT
- Ava Chair
- Price on request
- Gregory Beson

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The Conversation

1. What led you from creating music to creating objects?

I was a musician for a long time — it was really my main medium growing up. Music was about people, about community. It’s such a beautiful way to connect. I think I was looking for something similar when I started working with wood — something tangible. With music, the moment you make it, it’s kind of gone. It disappears right after it’s played. But an object, a piece of furniture — it stays with you, it lives in space, you can experience it again and again. So moving towards making things felt natural. It doesn’t feel so different, really. Music is still a big part of my process.

Do you feel your design process echoes the way you worked on music?

Yes, definitely. For me, it’s all one creative practice — just different mediums. Music, furniture, sculpture — it’s all about making something that feels right. When I used to make songs or soundscapes, it was about finding harmony, rhythm. Now it’s the same, just with shapes, materials, light. It’s not so different — just another way of composing.

Do you experiment a lot? In music it’s all about freestyle and exploration — does that carry into how you work with wood?

Yeah, for sure. When I sit at the drums or play guitar, it’s all about feeling it out — following where it goes. It’s the same when I make objects. I don’t really plan too much — sometimes, even while having a coffee, I’ll start seeing these gestures or shapes in my head, like little melodies. My process is very lyrical, kind of musical, maybe even physical. I never danced, but I think between music and furniture there’s something like dance — a middle ground. I think of furniture almost like choreography. It’s not just about sitting on it, it’s about moving around it, feeling it. That’s why many of my pieces have these rounded edges — so you can move smoothly around them. Sometimes I go the other way, use strong, straight lines — like a different kind of song, more raw. (laughs)

Since you think of it like a dance, what kind of feeling do you hope your furniture gives people?

I don’t know if it’s about one specific feeling, but more about what the material brings. I love wood because it’s warm, kind of earthy — you can really relate to it as a human. It’s familiar. Metal, for example, can be cold or dense — wood has a softer presence. I try to create spaces that feel comfortable, maybe more confident. Some pieces are more sculptural or challenging, others are soft and functional. It’s a whole spectrum — from something you can lie on, to something that makes you think. Each piece gives a different possibility.

When do ideas come to you?

All the time. It’s kind of constant. I’m always sketching, dreaming, shaping something. Sometimes I wake up with an idea, or it hits me while I’m sitting here, having a coffee. My studio helps a lot — it’s like a playground, a dream space. I can move things around, mock something up, paint a wall, project an image — just see what happens. I work both analog and digital — sketch by hand, then project or visualize things on the wall to see them differently. I use whatever tool helps me understand the idea better. I don’t limit myself. It’s an intuitive process — layered, spontaneous, alive.