Sarasota-based furniture designer Greg Pennenga has been crafting one-of-a-kind pieces here for nearly three decades. He has built a reputation for creating heirloom-quality furniture that blends creativity and craftsmanship. His workshop, Pennenga Creative, is in the Lime Arts Building, near downtown Sarasota's vibrant Limelight District.

We caught up with Pennenga to learn more about his career trajectory, overcoming a major injury, his design philosophy and what sets his work apart in today’s furniture market. This interview has been edited for length and clarity.

How did you get started in furniture making?

"It was always about the 'why?' more than the 'how?.' I just loved doing it. I spent my early years building furniture wherever I could—out of my garage or for other people. Then I met Dale Ricky, who was a major influence. I worked with him for about three years before cutting my hand pretty badly in 2013, which sidelined me for two years of surgeries and recovery. But even then, I never thought of doing anything else. I’ve been doing this for 30 years, and it’s all I’ve ever wanted to do.

"Before that, I was in Orlando for 10 years, having fun and burning through my 20s as a bartender. I was in a band, too. When that ran its course, I moved back here near my parents and was here for seven months when I met Cat, my wife. We became inseparable." 

What kind of materials do you like to work with?

“I gravitate toward hardwoods—white oak, walnut, cherry, maple—because they lend themselves well to timeless, heirloom pieces. I like to push the boundaries of design, incorporating elements like glass, metal and upholstery. I never build the same piece twice, and that keeps me from getting bored. My strongest skill is design, so I’m always trying to create something that stops people in their tracks. It’s the creativity that gets me going.”

Your injury was a turning point. How did it affect your work?

“In 2013, I cut my hand on a table saw, which left me without three fingers on my left hand, which now bends at about 60 percent. It was a long recovery—two years of surgeries—but I never considered giving up. After I healed, I knew I had to strike out on my own. It wasn’t easy, but I’m more thankful than ever to be able to use my gifts. Now I have a SawStop saw, which shuts down when it senses flesh. That’s been a game-changer for my peace of mind.

"There are times when I'm like, dammit, I wish I had five fingers. But it never stops me from doing what I love. Thankfully, it wasn't my dominant right hand.”

What’s your design style?

“I don’t like labeling my style, but if I had to, I’d call it ‘organic modern.’ I want my pieces to feel natural but still have a modern, clean look. I’m seeing a lot of trends toward simple, clean lines with rounded shapes—like pill-shaped tabletops or kidney-shaped pieces. Those shapes are challenging, but they’re what make the designs special. If I get bored, I procrastinate, so I love new things, even though they might cause me gray hair. The intrigue is in the challenge.” 

What sets your furniture apart from mass-produced pieces?

“Big box stores like IKEA or Crate & Barrel focus on trends, not timelessness. I enjoy their designs, but when you look at the materials and the price, you’re not getting something that will last. I build heirloom furniture. It’s not just about how it looks, it’s about how it’s made. My pieces are designed to stand the test of time. They’re not trendy, but they’re unique. You’re getting something built with care, something you can pass down.”

Who are your typical clients?

“Most of my clients are retirees, but I also work with younger couples, especially those who travel and appreciate handmade, local craftsmanship. My pieces aren’t cheap—my starting price is around $10,000. My clients see the value in that. They want something unique, something that tells a story.”

What’s the most challenging part of your process?

“A lot of people don’t realize how much trial and error goes into custom furniture making. Every piece is different, so I’m constantly testing out ideas, building prototypes, and figuring out the best way to make things work. It’s time-consuming, but it’s also what makes the final product so special. There’s so much behind-the-scenes work: jigs, adjustments and tests that people don’t see.”

Tell us about your workspace.

“I’ve got a 2,500-square-foot space on North Lime Avenue in the Lime Arts Building. It’s open to the public and there are galleries next to me, so we get visitors. It’s a great environment, but most of the time it’s just me and one helper. I work on one piece at a time, and it can take weeks, even months, to finish a project, depending on the complexity.”

What do you wish more people understood about custom furniture?

“I wish people knew how much goes into each piece. When you’re building something new and custom, there’s a lot of problem-solving involved. I’m constantly experimenting with new techniques, finishes, and designs. It’s not like assembling a kit—you’re figuring it out as you go, and that takes time. But that’s also what makes the final product so rewarding.”

Follow Pennenga Creative here, or find Greg Pennenga at work at 923 N. Lime Ave., Sarasota, in the Lime Arts Building.