STATEMENT

The forms and imagery of my works often occur with minimum pre-planning. One cast form suggests additional forms, and pieces are added much in the manner of a collage. I never feel limited by a preconceived idea but need the freedom to make alterations based on my response to the piece. I feel that an artwork must be beautifully made, but it should also reach beyond its limits to satisfy greater aesthetic needs. Thus, another aim is to make a meaningful statement about forms, texture, color, and balance.

I was, and still am, obsessed with cubic forms, sharp edges, and fine lines. I believe that we, as human beings, are the only creatures on this planet who find tranquility and peace in such geometry. Our apartments, devices, cars, and most of what we use, and design are fundamentally rooted in these forms. In contrast, no other animal constructs its habitat with sharp edges; in nature, we encounter predominantly rounded, smooth shapes, while we stand in opposition to this softness. I have come to see the cube as intrinsic to human nature, an imposed order, a form we have introduced to the world rather than inherited from it.

Jewelers like me have a heightened sense of the precious; it is part of the work. When jewelers turn to sculpture, public art, or even architecture, they bring a dimension that other sculptors, through different routes of learning, have neglected or forgotten: the dimension of the precious.

The same effort that goes into painting or sculpture goes into my jewelry, yet the medium is particularly suited for the depiction of dream imagery because of its inherent personal, intimate, and magical quality.

As my works are mostly kinetic or interactive, the viewer in the gallery may enter a complex relationship with them: they place themselves as both subject and viewer.