I am focused on seeking out tactile pleasure, that which makes an object seem precious, like a treasure. I aim to create works that are at once organic and simple, but also highly detailed and almost overworked. Having once nearly stepped into the world of art conservation as a career, I became obsessed with very intricate visual observations, and I loved the quiet, contemplative work that goes into saving an artwork. The steady hand required, and the chemical reactions, the physical properties of different materials that made them move the way they do, were all very attractive to me.

 

In my body of work today, I approach art-making with similar focus. I grew up admiring my grandmother's beautiful antique glass fruit table lamps, an impossibly heavy textured metal perfect sphere that sat on the table begging me to move it just a little, jewelry from special times in special places that clinked and clacked together as she moved, and grandfather clocks painted with delicate scenes from times past that tick-tocked away forever in concert. I worked in a fine jewelry shop where I learned to distinguish between and favor the fine stuff over costume jewelry. I lived among New York's highly decorated buildings and walked the halls of its many museums, forever studying details. Flourishes. And so I set about, cataloging flourishes I've seen, imagining flourishes I might not have, and creating a language of visual expressions that speak of times past, times ahead, timelessness.