My design concepts originate in the abstract, rustic, natural world, and slowly meld into clean, contemporary images. This artistic process originally surprised me, as in my early career I had anticipated creating pieces with a rough, raw look as opposed to the polished, more modern look they now reflect. Sometimes the design stems from an emotion, a sensation or experience I hope to portray through a particular work. Other times, it is an intentional concept, aimed at evoking a specific cognitive reaction upon view. I am continually surprising myself with the motivation behind my pieces and the final product. Now it is just part of the process, never knowing what the inspiration will manifest. current inspirations include the movement of water, the patterns of the ocean, sacred math symbolism, and unusual pairings.
Each piece of work is handcrafted by me personally, in my home studio in ASTORIA, Oregon, a SMALL town along the raw and wild pacific coastline. Attention to detail, original designs, and the return to slow, hands-on craftsmanship are trademark to my work. One of my favorite quotes, which I have hanging in my studio, is"the manual world saves sanity" (Chogyum Trungpa Rinpoche). In an era of mass-production and an endless supply of technological design software and production tools, I prefer to go slow. Use a pencil to draw the design. Work with my saw. Hammer with hand-strength and not that of a machine. I love what I do, and I put this passion into every piece.
Prior to learning metalsmithing in my early 30's, my love affair with jewelry making was simple. I knew beading and basic wire-work. I had the eye for design, but found myself challenged with the inability to know the metals I was using. I wanted to get under the skin of these elements I barely knew. I wanted to know their properties, their origins, the way they work with me at my bench. I knew there was something magical about metalsmithing. Just as it is true with the elements of nature, the elements of metal are responsive. They move hand-in-hand it seems with my state of mind when I come to my bench. If I am focused or if I am scattered, if I am angry or if I am full of calm, the metals work right by my mind's side. And I have come to cherish this relationship.
recent works originate in inspiration from sacred geometry, natural patterns, movement and meaning. using the fibonacci sequence, i began measuring many of my shapes to the divine ratio. there are many theories on this ratio, and mine is simply to understand it as the beauty and organization within the chaos. once the concept of this new line of work emerged, i found myself creating in a variety of new, unintended directions--often combining these fibonacci triangles with "unsacred" shapes, juxtaposing directions within elements, or finding unique contrasts wherever i could. shortly into this new chapter, my mind awoken to buried knowledge from my previous years of schooling in esoteric traditions, world religions, and western adaptations. i look forward to seeing where this new inspiration and remembrance takes me.
My idea, my heart, my labor -- they are there in the Votive creation you wear.