The style of my work is abstract and conceptual. It is realized in sculpture, painting and photography, and involves multiple facets based on concepts originating from specific shapes. Each step of the process relies on the step that came before and becomes not only a component, but also the work itself -– ink sketches lead to technical drawings that lead to maquettes that lead to paintings that lead to three-dimensional work that lead to photography.

By translating shapes from two dimensions to three dimensions, and back again, I am able to expand and contract space. Through this sequential process the essential nature of the shapes I work with becomes increasingly clear to me. My subjects are black and white drawings, rocks and stones, as well as micro-plywood sculptures and other work constructed in my studio.

I aspire to minimalism and continually distill and refine my ideas into their final form. Following Sol LeWitt’s example, I try to recognize simple ideas, set out principles to design my work, and implement plans to govern their execution. For a more intuitive approach I look to Uta Barth, where I find insight into the marriage of conceptual art and art as a visceral experience.

I do this work because it is important for me to understand the materiality of the forms and shapes I work with. To explore the interdependency of concept and material, I use the paper-like quality of wood veneer, the lightness and strength of micro-plywood, the heaviness of stone, the gleam and viscosity of boat paint, the finesse of string and the documentary qualities of photography to help me execute my ideas.