Through the use of unconventional processes and non traditional materials whose attributes embody affects of architectural elements and geometrical forms, I aim to evoke an ambiguity relating to the physical presence of depth in space and time, while simultaneously conveying an emotive emptiness echoing the elusiveness of perception and existence in aspects of the natural world.  By incorporating embedded language, in the form of signs, symbols, and text; a code of communication is assembled and the visual vocabulary may be translated as a language in divulging thoughts, surrounding interactions with the climate of our natural, built and social environment and as a reflection of the conceptual qualities of our mind and memories, which are shaped by the structure of our experiences and the state of our emotional ecosystem. 


The practice of selecting, manipulating, and modifying objects is a response to my fascination with the multitude of senses and the way in which tactile interactions often and intimately, shape the physical properties and spiritual realities of the materials we handle. This process demonstrates my interest in concepts concerning perception and existence and the substance and essence of objects, as well as their unique personal and social history. The designation and relocation of these objects in my work, along with the exploration and examination of select subject matter, through reading and research; is a direct action intending to convey an assembled code of communication. The visual vocabulary may be translated as a language in divulging thoughts, surrounding ideas that consider the climate of our natural, built and social environment and as a reflection of the conceptual qualities of our mind and memories, which are shaped by the structure of our experiences and the state of our emotional ecosystems.