Exploring aspects of myself in ways that speak to a universal human condition appeals to me most and is probably what drives my work.

I have always had to juggle ways to live and work and make things around me happen, and an attitude of challenge, discovery, and invention suffuses my art, which has always dealt with many themes and ideas simultaneously.

The most satisfying projects for me are the most difficult, both in technique and concept.  Though I was trained in traditional leaded stained glass methods, I taught myself copper foil, then fusing and other warm glass techniques. In the mid 90's I began to take classes with renowned glass masters like Brent Kee Young, Doug Anderson, Anna Boothe, and numerous other international and American glass artists.  The skills I acquired, along with a strong sense of curiosity and intuition, allow me to create almost anything I envision.

I enjoy the discipline necessary to produce intricate, precise architectural installations in my commissioned projects.  Working with stained glass keeps me involved with architecture and design for my clients, which I love. After 25 years I still find great satisfaction in creating a window or a door that becomes an integral part of an existing structure, as well as making a statement about the owners.

My non-commissioned work is primarily concerned with the sensual and emotional, often incorporating body parts or images, and words. I studied creative writing in college, concentrating on poetry. When I started working in glass, I stopped writing as much, but somehow my words have always made their way into my artwork.

My cast glass pieces are very personal, though now and then I do a purely whimsical piece. Fusing glass allows me to push the envelope with experimentation and feels like a dialogue, a co-creation with the glass itself.  I don't produce too many decorative objects like bowls and plates, but tend to favor more abstract creations and large forms or well-designed functional art such as sconces or sinks.  

I have a small glory hole and crucible kiln, and do a bit of hot glass, and would like to begin playing with hot pours into sand molds.  In all the techniques I use there is a dance of invention, a marriage of elements, and I incorporate steel, rock, natural objects - whatever is needed to resolve the work.

There are so many ways to work with glass it is intoxicating.

Services and Techniques

Design

Fabrication

Professional Memberships

Education

Professional Teaching Experience

Recent Professional Shows and Exhibitions

Clients (Partial listing)