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My work consists of small assemblages constructed with handcrafted wooden boxes, old photographic portraits, and unusual found objects that may suggest memories, relics, and mystery. Hand-painted illusions of sea or land blend with images of 19th century men, women, or children. Torn scraps of photograph seem to levitate in a small triptych. LED’s light up inner chambers of old cameras. In some assemblages, altered photographs or other objects are treated as precious. At other times, a photograph, glass vial, or cricket cage suggest old secrets to be unlocked.

My work intentionally walks the lines between sculpture, installation, and craft. I choose to work in craft media because of its evocative power. For me, tricks of memory are better conjured by the handmade, the keepsake, and an intimate scale than by giant video installations. I refer to recent art – to Joseph Cornell, for example – to disrupt the feeling of coziness inherent in traditional media (such as the wooden boxes I make myself). My intention in pairing these two ways of working is to make my objects unsettling and beautiful in equal measure.

A recent installation, "River" (2005), explores how geologic time can act as metaphor for all change. Lately I’ve been reading books, like Richard Dawkin’s "Unweaving the Rainbow," about evolution and genetics. I’ve been trying to understand what scientists know about shifting tectonic plates, ice ages, and extinction. Learning how scientists understand history offers new perspectives on our current brief and fortunate existences. Change, in genetic, geologic, and personal time, and how individuals comprehend and respond to change, are the moving forces in my newest work.

Mitosis

2003
25 x 25 x 12 cm

Besieged

2004
33 x 30 x 25 cm

Besieged - detail

2004
33 x 30 x 25 cm

Burn

2002
25 x 20 x 12 cm