My new body of work has been inspired by two interests; wind powered kinetic sculpture & the architectural beauty inherent in insects, birds and plants. The materials I employ; recycled roofing copper and steel from fabricators scrap piles & a background in traditional smithing & basketry inform & guide my approach to my work. I have observed that nature is viewed primarily as outlines and shadows. Delicate insects, birds and plant life are often overlooked/over-powered, in the minds eye by the color of leaves and the silhouettes of trees. But, a visual understanding of the natural world can only be revealed, when time is devoted to details. As in the nature, my sculptures outlines & shadows are often first to grab a viewers attention. Large 3-D works that speak to the issues of line & movement are therefore not always best represented by full photos displayed in small formats. Therefore, I intentionally chose to represent some works with detail shots rather than the entire pieces.
My steel sculpture, furniture, and home accessories are characterized by fluid, graceful designs juxtaposed with the straightforward qualities of traditional forged ironwork.
Fragments of memories, words that resonate and stay within my mind, converge with observations of the physical world during the course of my creative process. I enjoy the visual experience of diverse landscapes and the transitions of the seasons. These inspirations all speak in different voices and in varying degrees of magnitude in my work.
I am a silversmith creating utilitarian objects and vessels which accentuate how subtle changes in a familiar shape alter how we address those same objects while reintroducing play back into that interactive relationship. I am drawn to the simplicity in the process of taking a flat, two dimensional sheet of silver and hammering it into a three dimensional object. The resulting vessel is a form we encounter everyday, an object that both occupies space and contains it. I deconstruct the intimacy of the spoon, by embracing its very nature as a bridge between the exterior and interior, to derive new investigations into a tool that connects us to the surrounding world. By considering these abstract relationships with the utensil and the vessel, it is by implementing them in an elegant silver form that I join the wondrous historical tradition of my craft with the fundamental beauty found in the humanized utilitarian object.