My work does not fit the commercial standard of beautiful jewelry, but I aim for beauty in every piece. I do this by combining clean, almost minimal, forms with intense detail. Usually constructed out of sterling silver, I tend to oxidize the metal to create a black or grey surface that masks the ornamentation and enhances the graphic nature of my designs. The object may appear to have some sort of superficial decoration or unknown agenda, and upon further investigation the viewer discovers that within my composition, there is more than initially meets the eye.

My ability to pack so much detail into relatively small forms is due to my use of 3D rendering software. Loose paper sketches become refined on the computer screen. Once a form has been finalized, I am able to use the program to create precise patterns that I apply to metal in a way not dissimilar to a seamstress. Despite a reliance on technology in the front end of my process, the fabrication is done completely by hand. Combining new technologies and traditional metalsmithing techniques, I am able to create objects with a sense of history and authority that still seem modern.

I do not consider myself to be an artist, but would give myself the more complex title of metalsmith and jewelry designer. I have been primarily interested in jewelry throughout my exploration of the arts, and throughout my life. Small, portable lockets and rings always seemed to have a mysterious history when off the body, and a new life when slipped on a finger or around the neck. Jewelry is unique in its ability to reach large audiences and for portraying inherent value, no matter what materials were used to create it. When I make jewelry, I think about all of these things: longevity, preciousness, and wearability. Although they are not the focus of my work, these are all qualifications of a successful piece in my mind.