artist statement
All of my work is interactive. Sometimes movement through space and light affects the piece; sometimes the interaction is directly physical. I am looking for a present-tense engagement, not a remote contemplation. My process is an intuitive balancing of the tensions between opposing forces.

object vs. place
While each wall piece, sculpture, or installation consists of physical objects, it also creates a place for the mind. The altered mirrors are soft distorted worlds to move past and peer into; The installations become worlds inside tiny porcelain elements; the small box sculptures form hand-held rooms, and so on.

geometry vs. imperfection
The attraction toward geometric simplicity is followed by a desire to add subtle complexity. For example, a perfect porcelain cube slumps in firing, or a simple square mirror develops richness and variation with the addition of translucent layers. Geometry is abstract perfection; imperfections add beauty to an otherwise sterile perfection.

subtlety vs. intensity
"To reduce, simplify, and visually quiet an image leads to the magnification and intensification of visual phenomena. Cracks and wrinkles are rich and tactile on an all-white porcelain surface. Shifts in texture between brush strokes and tiny bubbles become significant in a context of almost monochrome amber-colored resin."

the miniature vs. the vast
Each piece shifts between tiny and huge. Large wall and installation pieces are filled with thousands of tiny details that pull viewers into an intimate closeness. Tiny sculptural or wall pieces contain open areas of emptiness that open out into a void. The porcelain boxes are hand-held in size but contain a simple glowing world of indeterminate scale. A piece containing multiple elements such as droplets or letterforms must have so many that they seem infinite.