My content driven artwork primarily takes the form of sculpture, large-scale sculptural installations and works on paper. Conceptual and poetic sensibilities — a marriage of head and heart — inform the decisions in each of my site-related, site-specific, situation-responsive projects. Not unlike words in a poem, material selection along with scale and presentation become greater than the sum of their often-unrelated parts.

The guiding force behind my work resides in conjoining idea and aesthetic. Often described as a “draw-you-in” kind of beautiful, my art embodies a strong physical presence with carefully considered and often laborious craft, yet the ideas remain paramount.

Every aspect and implication of material usage specifically relates to my work's content and context. Therefore, I use a wide variety of materials and technique. I’m particularly inclined to seek out unorthodox and repurposed materials. But I also employ more traditional materials and processes such as welded steel and stainless steel, cast bronze, glass, paper and wood. Nothing is ever off the table. I’ll frequently use disparate materials in a single work to accentuate duality, tension or evoke multifarious interpretations in my quest to symbolically convey personal, political, social or spiritual manifestations with authenticity and relevance.

Brief Statement

I create artworks using a variety of materials in varying scale – from minute to monumental. My artwork responds to “place” in the larger sense. Selecting just the right material and method, my work is a synthesis of head, heart, and gut. It is personal, sometimes political, and always poetic.

Artwork Statement

Don't Stop is four-part sculptural installation made of over 7000 cork stoppers, hot rolled steel, stainless steel, pigment and gold leaf. 

Several years ago, I received a donation of over 100,000 expired, unused wine corks. In my quest to make sense of this new acquisition, I learned that cork is a sustainable material. It is extracted every 7 years from cork trees predominantly grown in Portugal. Cork is elastic, buoyant, fire-retardant and impermeable. It has been employed since antiquity in a variety applications from footwear to bottle stoppers. More recently it has found use as an alternative to leather in the production of handbags, wallets and other fashion accessories. Because it is easily recycled, lightweight and has excellent insulation qualities, it is now commonly used in spacecraft heat-shields. 

Cork is an abundant material. This particular gift of cork was already formed into wine stoppers. Apparently cork expires, losing its elasticity and rendered useless if not timely inserted into wine bottles, hence the donation. 

Considering abundance led me to visualize an outpouring of this material, as if the very nature of cork was expressing gratitude. The two largest sculptures in this series “Chianti” and “Merlot” were titled after the color of red inks I used to coat the corks’ ends. It felt perfectly suited to the reference of wine flowing freely. For “Sky” and “Nightfall” I chose blue inks to suggest quiet restraint. “Sky” suspended from the ceiling forms a structureless column while its opposite “Nightfall” resigns to gravity and succumbs to floor.