My work is grounded in metalsmithing and blacksmithing processes. I am drawn to the manipulation of metal and the ways that the hard, industrial material can be coaxed into representing soft, organic forms. Combining found objects and other material, specifically felt, I am interested in exploring the spaces between worlds, and feral animals have become symbolic of this realm.

Pushing against Western history which disregarding the interests of animals, I give them the central role in my work. In his 1980 essay “Looking at Animals,” critic John Berger says, “However you look at these animals, even if the animal is up against the bars, less than a foot from you, looking outwards in the public direction, you are looking at something that has been rendered absolutely marginal; and all the concentration you can muster will never be enough to centralize it.” I examine this experience by failing to provide my sculptures with eyes or facial expressions. We are unable to meet their gaze, and they exist forever outside of what we can comprehend or connect to. This is important, this chasm, the desire to connect and the timeless inability to do so.