PHILOSOPHY

As an artist I have found two ways of working that I flow between to complete each work. The first is to plan the idea. To create a highly designed object with a 3D model or draw it to scale, finalizing proportion and form. From there my second direction of making begins. I gather all the necessary materials I will need to complete my design. This step is especially important. I source 80% of my materials from scrap I have collected, or I go searching for. The recycled materials carry a patina and character unmatched in brand-new supplies. From this point the construction begins. I shift back and forth between following the original design and improvising details, all the while, intuitively responding to the material’s inherent qualities.

My art heroes are among the likes of Isamu Noguchi, Buckminster Fuller, Kahlil Gibran, Ralph McQuarrie, Tom Sachs, Shinichiro Watanbe, Frank Lloyd Wright, Hayao Miyazaki, Paulo Coelho, Frank Herbert, Dieter Rams and Gerrit Rietveld to name a few. Most importantly my grandmother Adele, a painter, garment maker and cook, whose influence on me in pursuing an Art discipline is incalculable. A silent dream in my family for generations.

My current body of work focuses on unifying architectural forms with natural forms through the vehicle of furniture. I wish to articulate an unknown future or civilization that allows its structures and furnishings to be defined by its surroundings, taking lessons from the natural world. Because this place does not yet exist, if only in my mind. I develop its cultural heritage and use of form derived from nature and unknown technologies. Drawing inspiration from my love of futurism, architecture, Legos and the Star Wars series the nuances develop. My objective for the viewer aligns parallel with the objectives of romanticism, to provoke the feeling of the sublime. To draw the viewer into a new world by narrowing their visual perspective into mine.