About Uncle John’s Barn

Life as an artist is often described as a lonely pursuit — but I’ve found it depends on your state of mind. When I chose to become a professional woodcarver, I didn’t realize how much solitude lay ahead. Music became my partner. Most notably the music of the Grateful Dead, their spin-off bands, and solo projects have been with me every step of the way.

I grew up with this music. At 12 years old, I was glued to the first KLH FM radio box, tuned to WNEW-FM in New York City, discovering the new sounds that would shape my life. I can still remember drifting off to Live Dead, dreaming about the mysteries of Dark Star.

My first Dead show was June 1969 at the Fillmore East — a late show that carried on until dawn. Just a few years later, I was 25 yards from center stage at Watkins Glen in the summer of ’73. Those two shows changed everything for me. Afterward, I didn’t chase many more concerts; the experience of those nights, and the caliber of music, set the bar impossibly high.

By 1978, I had opened my first studio. Like many working artists, I had little time or money to travel to shows, but the music never left me. The Barn became my bus. When we raised it 40 years ago, the very first thing to move in was the sound system: a pair of Klipschhorn speakers powered by a 1960s Macintosh 1700 tube amp — still running strong today.

Thanks to dear friends, in April 2025, I celebrated my 70th birthday in Las Vegas at the Sphere, seeing three Dead & Company shows. The breathtaking LED visuals, the pristine acoustics, and the fresh energy the band brought to the classics lit a fire in me. I had already begun carving stealies before the trip, and after those shows the music and the art fused in me like bacon and eggs — a perfect pairing. This work is all I’ve done since.

For years I had taken the road seriously, maybe too seriously at times. I was looking for a turn to take off my predictable road and Vegas, a place I never imagined visiting, opened a new door. More of the same isn’t always best — even when it’s good. I rediscovered the joy that first drew me in: the psychedelic rock art of the ’60s and ’70s. Album covers, Fillmore and Winterland posters, the work of legends like Stanley Mouse, Alton Kelly, Rick Griffin, Wes Wilson, and Victor Moscoso — their images were more than cool; they became part of our cultural DNA.

As an artist, I can only imagine the fun those creators had making them. Now, with my chisels and experience, I bring those images into another dimension through woodcarving. It’s been fun for me too, and good medicine for an aging Deadhead.

Uncle John’s Barn is about honoring an era, its artists, and the music that never stopped and continues to shape generations. It’s where the art and the sound continue to live, grow, and inspire.