Choosing Timber for Resin Art: How I Source, Select & Prepare Every Slab

'Flow Bar' features Inland Rosewood

Not all wood is created equal — and in my world, the more wild and weathered it is, the better.

When people first discover my resin and timber art — especially my surfboard wall pieces — one of the most common questions I get is:

“Where do you get your timber from?”or “How do you choose the right slab for each piece?”

The answer isn’t as simple as picking something off the shelf. In fact, it’s a layered process of intuition, technical checks, artistic intent, and deep respect for the raw material. Here's a behind-the-scenes look at how I source, select, and prepare each piece of timber for my resin artworks.

Sourcing Timber: The Art of the Hunt

Each project begins with the search for the right slab — and that choice often depends on what my client is envisioning.

Some are drawn to deep, rich grains. Others love blonde tones with a coastal driftwood feel. Some are chasing dramatic live edges and voids. Whatever the brief, I take it seriously — because the timber forms the backbone of every piece I create.

'Lagoon' features rare Tasmanian Musk

My most commonly used species include:

• Camphor Laurel – beautiful contrast and swirling grain

• Jacaranda – softer, paler tones with elegance

• Tasmanian Blackwood – rich, warm, and dark-toned

• Red Cedar – deep red tones with a coastal character

For those wanting something truly unique, I sometimes track down rarer species like Musk, Mallee Burls, Rosewoods, or Olivewood. These are harder to find, but worth the effort when a piece calls for something extra special.

I work with a network of timber suppliers — some local here on the Sunshine Coast, others interstate. I also keep an eye on private sellers through Marketplace, which can occasionally turn up some real hidden gems — slabs with character and stories etched into the grain.

What I Look For in a Slab

It might surprise some, but I’m not chasing perfect planks or flawless grain. Quite the opposite.

Raw Coastal Cypress, my personal favourite

The slabs that most furniture makers would pass over — the ones with voids, rot, wormholes, wild live edges and deep knots — are often the ones I treasure the most. These “imperfections” are where the magic happens when resin is poured.

Each natural feature becomes part of the artwork’s story.

I also take colour into account. The tone and grain need to complement the resin palette and the overall vibe of the piece. If the art is going into a beach house with a soft, coastal palette, I’ll avoid timbers that are too dark or red-toned. If the resin is rich and bold, I might go for a wood that adds contrast and visual depth.

How I Prepare the Timber

Once I’ve found the perfect slab, it’s time to prepare it for the resin process. This step is critical — if it’s rushed or skipped, the final artwork simply won’t hold up.

Preparing the live edges of some Camphor Laurel with super chameleon colour shifting pigment and resin

Here’s how it unfolds:

1. Drying

Most slabs arrive to me already dried, either air-dried for months or kiln-dried over weeks. Still, I check moisture levels carefully using a moisture meter. If needed, the slab will continue to air-dry in my studio before I start working with it.

2. Debarking & Cleaning

Loose bark and soft timber sections are manually removed. If the slab is heavily soiled, I might pressure wash it — but more commonly, I’ll use a wire brush attachment on a drill to clean it thoroughly. This removes debris and roughens the surface to help resin grip better.

3. Flattening

Using a thicknesser if the slabs are thin enough in width, or a Wood Wizz if they are larger, I flatten the slab so it sits level in the mould. This ensures a clean resin pour and proper setting.

4. Sealing

Before any deep resin pour, I seal all live edges, rotten sections, and voids with a thin layer of resin. This prevents micro-bubbles from escaping during the pour and helps stabilise the wood structure. It’s a critical step that protects the clarity of the final piece.

Challenges of Working with Timber and Resin

Every piece is one of one — which is both the joy and the challenge.

One of the biggest hurdles I face is finding timber that closely matches a client’s vision, especially when they’re referencing a piece from my back catalogue. Timber isn’t mass-produced — so I often spend days tracking down something with a similar shape, colour, or character.

Then there’s the challenge of layout — finding the right flow between resin and timber. It has to feel natural, not forced. The layout must reflect movement, balance, and a kind of harmony that’s hard to explain — but instantly felt.

My Relationship with the Material

I’ve always felt that the timber should be the star of the show.

The resin exists to elevate the wood — not overshadow it. I work hard to make sure the grain, colour and contours of the slab flow seamlessly into the resin, creating a balanced marriage between natural and man-made materials.

Every slab is a new story. Watching a raw piece evolve into finished art is a bit like raising something from the earth into form — organic, patient, deliberate.

Rare and desirable Olive Wood

Rituals, Habits & the Unskippable Steps

Working with timber and resin is like following a recipe. Each stage matters. None can be skipped. There are no shortcuts.

Drying. Flattening. Cleaning. Sealing. Setting. Pouring. Finishing. Each step builds on the last, and if one is rushed, the whole thing can fall apart — sometimes literally.

That’s part of what makes this work so rewarding. It demands respect. And it returns beauty in kind.

Final Thoughts

Sourcing and preparing timber isn’t just a technical step — it’s the foundation of every piece I create. Whether it’s a surfboard wall art commission, a custom charcuterie board, or a sculptural resin work, the timber is always where it starts.

And it’s almost always where the magic begins.