My work has been described as “sculptural, ambiguous, and intriguing,” which is a fitting reflection of the way I like to think about what I do.  In my practice the boundaries of my work straddle art, studio craft, and product design, all of which provides a rich territory for exploration. 

The meaning others find in my work, what it may represent to them, or how others intereact with it is much more important to me than stating my original intent - however interesting that may have been to me as the author. I do aspire to imbue my work with my values, but I try not to imprint it with my own narrative, and believe it to be more compelling when the work resonates with diverse interpreations.  I'm more intrigued by how others make a connection with the work, coming to it with their own personal experiences and perspectives to complete the piece. In this way, each intermediary re-interprets the work, and every interaction becomes an act of co-creation.

I enjoy working with a variety of techniques and materials, but it is my fascination with woven wire cloth that takes center stage in my work. I first developed this interest as a student during the early 1990s, when I was devising a room divider for a furniture design class. Metal mesh is traditionally used for filters in industrial systems; taking it out of its context, transforming it, juxtaposing it with precious materials, captured my attention in a way that continues to provide exciting possibilities for exploration, and keep me coming back to the work again and again.

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Handling metals throughout the production process, and participating in their transformation from a flat 2-dimensional geometrical form into a complex three-dimensional object is an exercise akin to building something “from the ground up,” which relates to my background in architecture and industrial design.

In describing the impulse of craftsmanship, the sociologist Richard Sennet has suggested that the work of the hand informs the work of the mind. This perspective resonates deeply within me.  As a designer-maker, I begin by thinking with my hands: manipulating material, making paper models, and developing several iterations. Only after this exercise I shift into developing tecnical aspects and producing drawings. I am purposeful about investing intellect and effort in ensuring that the final outcome creates a desirable experience. When I am successful, I have brought something new to life, encouraged a new outlook with my work, and put forth a maningfull material object that serves as a catalyst for human connection.

Two essential drives fuel my artistic practice. First, the instinctual desire to make. Second, a deep need to learn, seeking new artistic and creative challenges.