love the evolutionary transformation --- through hammering,
persuasion, and struggle --- from a flat sheet of metal
toward an object of unity and fluidity. I enjoy the
paradox that soft and fluid-looking metal
may have required extreme force and skill to be produced.
of my favorite aspects of metalsmithing is that moment
when it feels like I've just been given a gift. For
instance, I unfold a clump of metal and it transforms
into a sculpture. Or when I polish up a gold ring that
began as green, blue, and purple wax. It's like receiving
a birthday present!
contrast, most of my metalwork involves long,
labor-intensive processes, and extended conversations
with the metal. It is important to be listening. I try
to be open to new possibilities of design and form that
are suggested by the work and the process.
forms in my work have their roots in my gardens, and
meanderings through the woods and along the waters
edge. It is difficult for me to take a walk without
lining my pockets with rocks, shells, leaves, and twigs.
These souvenirs fill the windowsills of my studio. In
my work, the allusions to nature may be ambiguous so
that each viewer may relate individually, as perceptions
are filtered through a personal set of memories and
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