Both inside and out of the studio, my process involves an engagement with my environment through observation, collection, distillation, and reimagining.  My notes and found objects become markers in a shifting sea, an entanglement of flotsam which sustains, unravels, and transforms the work.  I aim not for resolution. Instead I seek to find points of tension, the suspension of ordinary logic, perhaps even a hint of the infinite. 

Much of my recent work stems from an interest in exploring lattice-like systems.  I was initially drawn to these open frameworks because of a breathable, flexible quality of a space defined by line.  More and more, I became aware of lattice as a system that conceals by means of its decoration.  Latticework is often placed at the edge of things, dividing house from street, public from private, form from function, man from woman.

I am led by these contradictions to examine the relationship between forms composed of line and the myriad holes within to a more abstract dialectic between form and its dissolution.  I often marvel at the fluctuations of bird flocks, noticing these tensions manifest in their motion.  A seemingly robust mass looms over the horizon, only to haphazardly disperse into the singular line of a telephone wire. These thoughts eventually bear the weight of forms which grow slowly, carefully.  For me, the process/work/labor is fundamental.  I find myself becoming entrenched in laborious methods because I enjoy the slowness and because of a certain curiosity about a system and what it will do, how it will grow.  Over time, these systems take over and I find myself just watching and listening as they shift, expand, and redirect.