That which is most often overlooked, draws me in. Asymmetrical symmetries, shifting planes, wonky grids, interrupted patterns, and intersecting lines provide a base structure for my observations of daily life: domestic chores, walking the dog, driving here and there.

My paintings, sculptures, works on paper, and temporary installations combine architectural and geometric structure with whimsical, decorative imagery. The work that emerges is a riff on form: wood floors, quilts, vessels, branches, leaves, kitchen utensils, flowers, fabric remnants, and sections of houses.

I work quickly and follow the impulse or thread from one project to another in order to be free of self judgement and doubt. Each mode informs the others, and there is no hierarchy. I delve into whichever medium feels the most alive and vibrant at the moment. In this busy, liberated state, I find calm engagement to immerse myself in hidden worlds and imagined spaces.

Paper is at the root of almost all of my work. The versatility of paper makes it a great material to start off with, because I can easily cut and manipulate it into the ‘drawing’ of the form, and then add layers of other material on top. Paper is usually not precious and offers a way of working quickly and larger if necessary.  Collage, an art form made generally with cut paper shapes, is also the base concept for my basswood constructions, even though they are more sculptural in their final stages.