The work in this series reflects a particular approach I developed to work with stainless steel mesh. "Plicato" is a term I made up, which is derived from the Latin word plicare (to fold), and a suffix plicato (many times over). The technique bears a relationship to the Japanese art of origami, because it transforms a flat sheet of material into a three dimensional form through folding into peaks and valleys. The folding patterns determine the form - as opposed to having a material treatment imposed onto a form. Although influenced and inspired by it, working this way with metal mesh is quite different because of the flexibility and resilient nature of the material. More importantly, my objective is to use the technique as a means to an end, as opposed to making the technique the art itself.  


The process involves quite a bit of precision, as well as careful planning to achieve the geometry I’m after.  But the act of pleating itself is quite meditative, rhythmic and soothing, so it is easy to become totally consumed by the task at hand. Folding the metal mesh into peaks and valleys is an ideal way to create interesting volume, shape, and flexibility.  Pleating also adds layers of visual depth and tactile texture to surfaces, and tucking under-and-over helps to conceal or reveal edges. It is functional problem-solving at its best.  

My inspiration for many of the pieces in this series is linked to the sense of place I connect with so strongly. Some are evocative of the peaks and valleys of my hometown at the foothills of the Andes, or the Colorado Rockies where I lived for some time, and where I continue to have strong ties.


Bracelets within the IPSA and TALIS series, as well as works in the INFINITO, STRIA, TORSI, FLEXURA, and TUBI, are related through PLICATO, the use of folding and pleating techniques.