artwork | > Gallery 3: seen | unseen (2009 - 2011)

corona (wall mounted brooch)
enamel on copper, sterling silver, wood, paint, pastel, image transfer,
8” x 10" x 2" (brooch: 3” x 3" x 1.5”)
2010
peeled (wall mounted brooch)
namel on copper, sterling silver, wood, paint, pastel, image transfer
8” x 10" x 2” (brooch: 3.5” x 2” x .25”)
2010
exhale (wall mounted brooch)
sterling silver, enamel on copper, wood, paint, image transfer, plexiglass
9.5” x 7" x 2.5” (brooch: 3” x 3" x 1/2")
2009
entomb (brooch)
namel on copper, sterling silver
3” diameter x .25"
2011
ripe (wall mounted brooch)
sterling silver, enamel on copper, wood, paint, image transfer, plexiglass
9.5” x 7" x 2.5” (brooch: 3.5” x 2" x 1")
2009
vanity (wall mounted brooch)
enamel on copper, sterling silver, wood, paint, pastel, image transfer
8” x 10" x 2" (brooch: 3” x 3")
2011
halo (brooch)
enamel on copper, sterling silver, wood, paint, pastel, image transfer
3" diameter
2011
honey (wall mounted brooch)
namel on copper, sterling silver, wood, paint, pastel, image transfer
8” x 10" x 2" (brooch: 3” x 3.5" x .25”)
2011
fallow (brooch)
enamel on copper, sterling silver
3.5” x 3" x 1.5"
2009
oculus (wall mounted brooch)
sterling silver, enamel on copper, wood, paint, image transfer, plexiglass
9.5” x 7" x 2.5” (brooch: 2” x 2" x 1")
2009
divide (wall mounted brooch)
enamel on copper, sterling silver, wood, paint, pastel, image transfer
8” x 10" x 2" (brooch: 5” x 2" x 1”)
2010

With this body of work, I am interested in reinterpreting organic forms, offering a metaphorical construction for shared human experience. Metalwork and ornament have a longstanding relationship with the natural world. My work is linked to this tradition, using the visual language of nature to present the viewer with an alternate perspective of the world we inhabit.

Protection, self-preservation, vulnerability, openness, reproduction, sexuality, growth, aggression, illness, decay, life and death cycles are themes I visually engage and reference. Rather than simply representing the natural world, I prefer exaggerated, artificial forms that speak of an engineered biology. My intention is to resist that which is commonly considered universal or essential, and open a dialogue about what is assumed to be “natural”.