I am interested in imperfection, growth, movement, and improvisation, as concrete attributes of vitality. I understand my impulse to manifest these qualities in my work as a sort of resistance to the generic, impersonal perfection and mundane predictability of the machine/information age.  

I am also increasingly focused on the role of the body and time as fundamental constraints and necessary features of this vitality. I think of my work as an extended meditation on the tension between this dynamic, bursting power of the present moment and the contingent, fleeting nature of that power. 

I also think of my work as an inquiry into the nature of matter itself, with a particular interest in the slippery borderlands between conventional dichotomies of material reality, including solid v. permeable; separate v. whole; moving v. static; active v. passive; and present v. void. 

I favor direct physical processes that require only the body and simple hand tools, allowing me to be both mentally and physically present in the vibrant moment of creation. I am particularly attracted to materials and objects that retain traces of their handling and a visceral, palpable materiality, including natural fibers, plaster, clay, earth, wax, paint, and concrete. I welcome chance and forces outside of myself, like gravity and wind, to participate in the process of making. I do this as a way of connecting with and materializing some trace of the teaming, complex web of creativity that pulses around and within us, but so often remains outside our perception.

I count a wide range of influences on my practice: from my early training in music; to my childhood time on the open ocean, absorbing the mysteries of wind, water, and sail; to my undergraduate studies in anthropology and my time abroad in India, France, and Morocco, places where I learned to reconnect with a sense of the sacred in everyday life.  My time living on the border of the Navajo Nation in rural New Mexico has also had an enormous impact on my work and practice, as I developed a strong connection to the expansive stillness of the land and the tumultuous forces of nature that are so raw there.  My artistic influences include contemporary Eastern art, including the Gutai group, the early practitioners of abstraction in Western Art, including Wassily Kandinsky and the later New York School, Postminimalism, including especially the works of Eva Hesse and Richard Tuttle, as well as a variety of contemporary process and material-driven artists, including Franz West, Lynda Benglis, and Mark Bradford.