After studying metal sculpture at the California College of Arts and Crafts in the 1950's and early 60's, Bennett first turned his creative energies to the production of counter culture paraphernalia such as roach clips and peace pendants. As he achieved success in the commercial realm, he turned his attention to making clocks and lamps. Made in Oakland, California, this work began to attract the attention of gallerias in the early 70's, and he expanded his work into furniture, beginning to use wood in addition to metal. As he built more furniture, he began to get frustrated by the emphasis on technical virtuosity that characterized the field of studio furniture at the time. His nail cabinet of 1979, exquisitely constructed of padouk but with a bent silver nail driven into its perfect surface, signaled his challenge to the dominant approach of the field. Over the next quarter-century, he embarked on a body of work that combines wood, metal, and painted surfaces and highlights a specific working process. He rarely draws or plans his designs meticulously, but simply jumps right in with his material and large machines. His dexterity comes from a deep knowledge of materials and techniques. He often focuses upon specific form - benches, trestle tables, desks, clocks, lamps, and most recently chairs - to provide some parameters, then uses his large machines such as a band saw or drill press to begin making parts. This direct approach has enabled his rate of production to remain very high, and he has been a recognized leader in the creation of of mixed-media furniture.