Artist Statement

My work has long been guided by the idea of shards—fragments of material, memory, and meaning that carry traces of human presence across time. A shard might be a scrap of paper, a fragment of clay, a rusted object, or a piece of handwriting—small remnants that become a quiet exchange between maker and discoverer, a kind of visual “secret handshake.”

Over time, I’ve come to understand that these fragments naturally gather into what I now call Objects of Devotion. These works—vessels, figures, altars, and layered assemblages—are not devotional in a strictly religious sense, but in a deeply human one. They arise from attention, care, and a sense of gratitude for the act of making itself. Each piece becomes a container for memory, intuition, and story.

Faces—ancient or imagined—continue to appear in my work as touchstones of presence. They serve as witnesses, holding both personal and collective narratives. My materials—clay, paper, beeswax, fiber, and found elements—invite layering, concealment, and revelation, allowing each piece to evolve through a process of discovery rather than design.
I’ve come to trust that the meaning in my work does not begin with intention alone, but emerges through a dialogue with intuition. The fragments that call to me—often incomplete, overlooked, or mysterious—become guides. By assembling them, I am not constructing a fixed narrative, but allowing one to surface.

Underlying this process are the forces that have always shaped my work: synchronicity, intuition, and what Carl Jung described as the collective unconscious. These are not abstract ideas to me, but lived experiences in the studio—moments when something aligns, resonates, or reveals itself without explanation.

In this way, my work becomes an act of listening as much as making—a practice of gathering fragments and honoring their quiet insistence that they belong together.