My work begins with the collecting of materials used to build the sculptures. I am attracted to an eclectic range of everyday objects: cheap plastic food containers, balloons, shower caps, paint strainers, antique silverware, hair ties, shoehorns and various fabrics have all found their way into the sculptures. I am initially attracted to these common objects for formal reasons; surface quality, shape, design, material composition. But, I also find myself thinking about a kind of cultural hierarchy of aesthetics, how and what we promote as beauty, assign value to, regard as precious and deem sacred. The sculptural process is intuitive; I employ the collected objects thinking of them in terms of raw building materials that can be manipulated in various ways   (cut, drilled, sanded, laminated etc.)  With much of the current work the creative process begins with experimentation around developing a multifaceted repetitive system. During this process I concern myself with achieving unlikely yet convincing relationships between the disparate common materials I am working with. I think about the inherent duality of life and like to flirt within the area where things seemingly opposed to one another overlap. I work without anticipating an end result, attempting only to enable a meditative (ritual like) process that remains open ended, in flux.  The final form is resolved through processes directed towards exploring the potential/limitations of the materials and systems. Ultimately I am interested in creating objects that communicate poetically, simultaneously alluding to multiple possibilities without in any way representing them specifically. Although the work often goes through numerous transformations and reconfigurations the original elements never entirely lose their identities, thereby creating a dialogue, or tension, between the latent function of the original objects and the conjectural capacity of the amalgamated state.