“I’ve felt a strong connection to my origins in the glacial valleys of the northwest landscape and explore these forms as the bones of the landscape.” My art is a narrative, inspired by ritual and an alchemy with the wild.  I use imprints of bones, patterns of animal prints and the presence they have occupied. My process involves a dedication to experiments involving reduction, decay and building upon materials in a state of contradictory chemical tendencies and conversions such as in the processes of casting, slumping and painting glass.

Currently, after working at the Pilchuck Glass School as the  Printshop Coordinator, I have focused on running a printshop, in Edison WA, for vitreography (printing form etched glass plates), intaglio and mono printmaking.  My work and workshops extend to painting and printmaking on paper as well as using glass enamels on cast, blown and slumped glass.

The Whale Call series, exhibited in a solo show at the Museum of Northwest Art, was inspired by stories of biology and human and animal migration. Using the science of Cymatics, which is the study of how sound vibrations can be seen in physical material, I interpret migration patterns and the digital imagery of animal calls onto paper and glass forms. Cymatics has found that the frequencies and harmonics found in whale and dolphin calls are repeated in the patterns of their bone structure. These whale calls are in the tonal range of C and E which produce greater cell growth in plants and animals exposed to these frequencies.  I interpret these patterns in my work by drawing, etching and painting the patterns onto vellum and blown glass vertebrae forms.