Materials follow form. I make these lamps of welded steel because steel suits the forms. I was first taught in ceramics. This developed my interest in surface and texture, and the understanding that first I need a strong form.

The sculptures are strong yet fluid, organic yet machined, rough yet refined, harmonizing for me the society we live in with the natural world. Their forms relate to the objects that intrigue me, plant forms in particular. I work with shapes, textures, patterns, and colors to compose my lamps. They are feminine forms integrated with aggressive vertical structures. Each lamp is a one-of-a-kind work combining light and steel. The finished pieces are primitive yet contemporary.

My prints are abstracted from bones, trees, and rocks. I manipulate x-rays and photographs for my imagery. I use bones because I see them not as symbols of death, but as sensual objects that are the structures of our bodies. I work with their textures and patterns to form my compositions. The incongruous imagery in my prints creates false depth, and shifts the eye around the picture plane, disordering the images. Cyanotype is the technical name for this antiquated blueprint technique. As machine processes have replaced blueprints, the process has been adopted by artists for its creative capabilities. It is a simple process utilizing two chemicals that when combined become light sensitive. The sensitized paper is exposed in sunlight and processed in water, producing a variety of blue hues, that can then be toned to produce a range of colors. With bleaching and toning I rework and reprint the paper for a cohesive idea. I am influenced by Dada and Surrealist use of juxtaposition of imagery which catches the eye. Like the Dadaist taking useful items out of context, my use of x-rays is a similar removal of context, with body parts looking like landscapes, and trees and rocks looking like human forms.