Artist Statement

My work begins with attention: to what is overlooked, hidden, discarded, misunderstood, or already carrying a history.

I am drawn to natural structures that are beautiful but not simple. Nests, chambers, roots, pods, deposits, remnants, and weathered surfaces often appear as delicate or familiar forms, but they hold more complicated meanings. They may be shelters, traps, records, nurseries, ruins, or evidence of labor. I am interested in the point where beauty becomes less innocent.

My current sculptural series, The Daubers, is inspired by the nests of mud dauber wasps. These nests are built through repeated deposits of mud and shaped into chambers. They are elegant structures, but they are also sites of storage, paralysis, care, preservation, and survival. The work uses this natural architecture as a way to think about what is hidden inside beautiful things.

I work with clay, paper, wire, fiber, acrylic, found materials, and botanical forms. These materials are humble, tactile, and transformative. They allow the work to remain visibly made: built, patched, sealed, broken, repaired, and accumulated over time.

Alongside The Daubers, I am developing Nature Studies, a quieter body of work rooted in observation. These studies offer a more direct way into the same questions: how natural forms hold memory, how small structures reveal larger systems, and how attention can transform what might otherwise be passed over.

Across the work, I return to the idea that making is a form of translation. A chamber, a root, a nest, a fragment, a sealed object: each becomes a way to consider what is difficult to see directly, but still asks to be imagined.