I have always thought of my art as personal alchemy, mixing observation and imagination into self-exploration and external expression. Making something out of nothing is my way of acknowledging what is universal.

I'm interested in simple forms that feel complete but appear to be apart from something larger and more complex. Starting with a vague thought or vision, I determine the appropriate materials and create a specific process, setting detailed parameters yet still allowing for something unplanned to happen.

"Irregular Areolae," was a result of playing with some left over wax and a mold of my nipple. I realized that depending on how I poured it, small variations would take place. After I had piles of them, I started arranging them according to the subtleties of the shapes. A number of different materials were considered as a base, but I eventually decided on colored concrete slabs. In the end, a delicate feminine form appears to be growing over a rigid structure.

In "Tits & Ass," I cast my "tits" and "ass" in light colored beeswax and recorded video of them melting over a period of 30-60 minutes. Viewed backwards, the screen starts dark as small circles start to appear like amoebae under a microscope, slowly evolving into recognizable icons of objectification or self-worth. As they take shape, the feeling ranges from dirty to funny depending on the sensibilities of the viewer.

Other more recent work involved casting various body parts in thin layers of resin and creating stratified topographical landscapes. Some are kept intact, some dismantled and displayed, while others spin around an imaginary central axis.

As a departure, I explored two dimensions from a 3D perspective. I started with root patterns that allude to the human nervous system. In primary colors, I made prints of small sections arranged askew, resulting in a final image that is both in and out of focus. The paper cut-outs are a continuation of the prints in three dimensions, void of color. “Line Switch” took it even further, where I created a motor and latching-relay kinetic system that raises and lowers a cut parachute in a continuous cycle.

My work is more intuitive then conceptual. The themes that run through emerge as a natural progression. Understanding feminine polarity in the context of a predominately masculine defined culture, reconciling a thirst for organic experience in an industrial environment, and my relationship to contemporary art, all become subtext for the sculpture.

I hope to reflect the nuanced and often disjointed beauty that pervades life.