My work is created in imitation of life forms.  They invite touch with their curves and pebble-smooth surfaces.  Soft, organic shapes based loosely and speculatively on biology grow and morph across skin and fabric.  They coil around, slide along slug trails, or root themselves like coral.  Often their methods of attachment or interaction imply a biological function.

It is important for me that each piece becomes a hybrid of influences.  Flora and fauna, fruit and genitalia, organ and body, all contained within one piece.  Desire for them should be tempered with hesitation.  Objects that can represent my conflicting interests feel satisfyingly pregnant. 

I choose colors that are attractive on a base level.  It is important that they be luscious, and I rationalize my choices based on my amateur interests in biology.   The texts of basic public education in the life sciences linger in my memory.  Sometimes the colors are more mammalian; sometimes they are referential of marine invertebrates as the borders of one color vibrate against another. 

The surfaces are pleasing from a distance and hold that promise as the viewer gets closer, zooming in with the lens of the eye to find detail just a few inches away.  It is important that they not become demystified upon close inspection.  This is key to what creates “authenticity” for me.  Removed from an assumed context, the pieces feel jarringly out of place, alien.  They have the quality of specimens taken out of their natural environment.