Identities shaped by home (or homelessness); natural beauty (or disasters), memories of happiness (or loss) inspire my artwork. This results in works on glass and paper. Both materials are translucent and seemingly fragile, yet they are hearty enough to survive the passage of time between civilizations. This type of inquiry also leads me not just to economic but also environmental concerns. Observations of current events, politics, and urban landscapes are my entry into these issues.
To make my work I use a variety of warm glass techniques. Warm glass means work fired in a kiln up to approximately 1,500°F. I enjoy layering images and text onto pieces, including public domain historical photographs and drawings.
Text is an important component of my artwork. I often say that I live under the tyranny of title. A phrase will get stuck in my head, such as “We Buy Houses” and I wrestle with it until an artwork is created. Thus, many of my pieces have titles before I ever make a schematic drawing, much less cut a piece of glass. Text is often layered onto my images, by screen-printing with glass enamels, sandblasting or writing with diamond-point dremel tools.
I am a visual storyteller. My work weaves personal and political geography to confront contemporary society’s relationship to place.