Winter 2025

an encyclopedic collection of exotic wood species. Leopardwood, Australian lacewood, koa, wenge, padauk, ambrosia maple and many oth- ers—including native Monterey Peninsula woods from his own proper- ty—neatly line a wall, awaiting the magic hands of this master artist.At first glance it may seem disorganized, but Lauterbach can immediately put his hands on the texture and grain of material that exactly meets the vision he has for the piece he’s working on. A workbench next to a large window is surrounded by plastic bowls filled with the tiny pieces of wood, gems and other objects he uses in his designs, along with small tools that would be perfectly at home in a den- tist’s cabinet. Here, he pieces together the designs that are affixed to the fanciful organic shapes that are initially formed with veneers of yet more rare woods.They are then sanded, smooth and affixed with an epoxy resin mixed with sawdust.“Different woods age, expand and retract at different rates due to humidity and temperature,” he explains.“The resin seals them and prevents movement.” Like Colonel Sanders’ 11 herbs and spices and the recipe for Coca- Lauterbach’s capacious work- shop, built in 1992, is filled with every woodworking power and hand tool imaginable. (Left) “Clarion” is composed of bronze with wood inlays, number 13 in a series of 18. (Right) Bracelets and pendants are another form Lauterbach’s work takes. (Below) “Crossroads” is a wall hanging of two overlapping pieces. 132 C A R M E L M A G A Z I N E • W I N T E R 2 0 2 5