My work is made from an experimental inlay process involving wood and polyurethane.  I begin by making a mold around pieces of wood, and pour the dyed polyurethane into the mold.  I then cut into the resulting block, and repeat the process, one color at a time. 

The color palette evolves organically as I am making each piece.  My color language is informed by memories of growing up in California, observation of the world around me, photographs of landscapes, and how I imagine those places might feel.  

 I let the process direct the work, while making deliberate color and composition choices. The painterly, gestural process of cutting to into the wood block and pouring the dyed polyurethane is contrasted with the diligence of the findings and the graphic quality of the lines. The resulting pieces are a delicate balance of both experiment and precision, and the wood and polyurethane abstractions begin to take on a precious, symbolic feeling.

The woods I use in my work are cutoffs sourced from other wood workers or companies that use responsible forestry practices, and the sterling silver is recycled. 


For the Wood and Gold series I use Zebrawood, which contains natural resin pockets that follow the pattern of the wood grain. I “mine” the Zebrawood for resin void compositions and fill them with a mixture of 14k gold dust filed from an old ring, and urethane resin. Evocative of Kintsugi, or Golden Repair Pottery, the subtle gold inlay highlights the organic qualities of the wood and is balanced with the structural, industrial qualities of the findings.