My British training has shaped the way I work. I think of myself as an artist, craftsperson, and designer and I love it when one area of my bailiwick influences another.
In my gallery work, I can let my hands do some thinking; I can dialog with materials and processes directly. In this way craft, whether it’s a process familiar to me, or a new one that I am learning, is always nourishing. I return to working this way again and again. It feels somehow ancient, comforting and familiar. Often it is the best way for me to express myself personally, quietly and intimately.
My public artwork engages viewers by a considered use of light, surface, and activated space. I am particularly interested in a subtle use of metaphor, and careful attention to context. In the development, fabrication, and installation of these architectural installations, I seek out ways to work collaboratively with a broad range of individuals, including my students. By partnering with engineers, architects, and skilled fabricators, products can evolve that far outreach any solo effort I might make.
When I design for glass factories like Blenko Glass, I take part in a special back and forth between designer and artisan. I love the challenge of stretching the glassmakers’ abilities, yet always bearing in mind practical limitations and the identity of the company. It has to be new, but also has to be clearly theirs, (pun intended).