Much of my inspiration comes from architecture.  The practicalities that govern how a building is both constructed and deconstructed fascinate me.  Each layer in the building process is like a skin, and I echo these procedures as I build my sculptures.  I am also influenced by the work of other artists, including M.C.

Traditional American and Native American styles have influenced my work and my choice of materials. This in turn dictated the styles of baskets I began weaving. Using many traditional and native materials such as cedar and cherry bark, sweet grass and spruce roots, I studied basket weaving techniques that have been handed down through the centuries. After studying extensively with Jiro Yonezawa, I became proficient in making Japanese-style baskets using their established weaving methods.

I specialize in black and white photography. I strive to create compelling images using natural light and a bit of serendipity.

For the past few years I have been making images of urban landscapes, particularly highways and infrasctructure like ramps, bridges and overpasses.

I am a fine craft artist, a maker of jewelry.  My current work focuses on giving my own modern twist to the centuries old art of making wealth easily portable in the form of precious metal chains. I was immensely fortunate to grow up learning to make things – bread, clothes, buildings, art – and I take pride in being a maker in the tradition of generations of people who lavishly and richly adorn the items of everyday life. My jewelry is meant to be touched and worn, and can only be fully enjoyed and appreciated if the hands are involved as well as the eyes.

I said, you said - no I didn't!

I am intrigued by the differences between two people's perception of the same event, and in how our memories of events then continue to change over time.  I am a painter and sculptor living in Seattle.  My recent work includes small sepia paintings on panel, inspired by old family photos and the way family stories change as they are retold.  I am also working on a sculptural series of small wooden towers so delicate they sway with a passing breath.  Maybe they should be called "three little pig houses ..."

           It’s a typical Seattle morning, grey with a little drizzle, but warm enough to work outside. Five pulls on the cord of my chainsaw and I am even warmer. Sawdust, exhaust and the roaring engine. I am roughing out a new wood head sculpture. I will go on to use adzes, chisels, rasps and sandpaper to refine it, some chain saw marks will be left for texture.

I create multi-layered spray paint stencils on salvaged pallet wood. With this labor intensive, process oriented approach I aspire to make new work for each new show or project that is specific for the space which it is exhibited. By creating the work for that particular space I hope to be as visually striking and compelling as possible. I work towards a goal of "one-upping" myself with each new project with increasingly bold and ambitious undertakings, aspiring to expand the size and scale every time.

My most recent work is a series of semi-abstract landscapes influenced by a Danish family’s photograph album which documents time spent at their cabin on Stormosen, south of Copenhagen, in 1941-42.  At that time, Copenhagen was under Nazi occupation and Stormosen served as their retreat from the realities of the period.  I am drawn to this album because I see in the photos the relationships among family, landscape, safety, and decay, ideas/subjects that are a recurring theme in my life and work.