I was the kid who always had a pocket full of rocks and shells and strange pieces of wood or plastic; things from streams, the beach, the playground, or the floor of the forest. I’m drawn to these objects by their shape or texture, often purchasing or “finding” something without a clear idea of what I will do with it other than thinking, “. . . I can do something with that”.
My pieces can be deceptively simple and elemental - some appear almost primitive. My influences range from the Native peoples of America through Oriental architecture to the Arts and Crafts Movement. Shapes, forms, and textures resurface again and again.
I don’t view the metal itself as simply a means to showcase a stone or object. It is the integral structure and framework that pulls the disparate elements together to tell a story at times playful, occasionally serious, and sometimes very pointedly designed to make you uncomfortable.
Some pieces are so symmetrical it hurts; in others, I will move something to break the rules and change the structure, just because I can.
Throughout my work you will see a juxtaposition of smoothness with textures, round shapes with points, static with motion - all metaphors for life in this modern world as we strive for balance.
Although I work primarily with sterling silver, I frequently combine silver with copper or brass in a single piece. Many pieces also incorporate keum boo, a Korean process that fuses 24kt gold to the silver.
I love to use stones with surprises: spots or splashes of color that contrast with the background. I use natural stones and objects whenever possible, some that I have mined myself: turquoise, gaspeite, varicite, jaspers, amber lapis, petrified wood, fossil ivory, deer antler.
Pieces are joined by rivets and other cold connections, or by soldering, or wrapping. Chains and clasps are custom created and fitted to the piece.
Each piece is finished with an eye toward how it will age, often providing lots of little lines that I will fill in with patina as the piece is worn and loved.
And, ultimately, that stone or found object will provide me with a vision of the final piece, although I may start the piece, then leave it on the bench to “ripen” until the perfect complimentary element finds its way into the vision.
Textures punctuate the stones and are achieved through roller printing, forging, reticulation, traditional stamping, filing, or chasing and repousse’.