I like my art pared down to its essence, while simultaneously containing everything. My subject is human nature. Physicality, growth and connections are my vocabulary. My method is to both combine and reduce. In each piece, shape, form and color are distilled until a singular image emerges from the tension between the found and the deliberate.
Often in my sculpture, a found object is combined with sculpture material creating an evocative form. Layering color and texture consolidate each piece until its shape becomes iconic, nearly symbolic. My work is complete when its disparities take on new life and its ambiguities allow many associations and references to surface for each viewer.

I think the life of my work lies in its ability to be insistently itself. In spite of the spectrum of ideas and sizes, human-scaled marks and manipulations unify my process. You can feel a person’s involvement in each construction. In a sense, all of my work is self-portraiture, but I hope that my autobiographical musings resonate beyond my own navel-gazing. I came to this approach through years of lovingly exploring both art materials and the condition of ambiguity. Listening to material and form speak for themselves is very powerful language for me. In pursuit of other venues to hear this language, I began to study and practice yoga. Yoga, literally “union” has led me to understand that one’s ability to lightly hold contradictions--physically, emotionally and spiritually--is at the heart of graceful living. The balance I seek in life is the balance I am also hoping to strike as an artist. My sculpture is both heavy and very light; drawings are bold and delicate; paintings are fertile and austere. These physical contradictions create containers for expansive feelings and familiar impressions, sometimes precarious, often disconcerting, and always rich.