Jewelry predates writing. The continual lineage of jewelry and metalsmithing practices throughout history, plus the innate, intimate connection of jewelry to the human body, suggest jewelry reflects various aspects of the human condition. 

My art practice began in Texas with a foundation of conceptual art jewelry history and training in traditional metalsmithing “hand” techniques— namely, flat-sheet construction/ fabrication of small- and large-scale forms using soldering. During my initial years of training, I became enamored by a process of hammering sheet metal into a singular hollow natural form, called a “spiculum.” I produced hundreds of spiculums and used them to investigate repetition of this natural form on the body. Many of my resulting artworks have a sound and movement aspect to them.

At the University of Iowa, my focus shifted toward studying contemporary processes, such as electroforming and computer aided design/ computer aided manufacturing (CAD/CAM), to integrate modern technology into my traditional metalsmithing background. Here, my art practice was focused on learning to work parametrically in a CAD/CAM software called grasshopper. Using the software, I began my work by stringing together variables that all affect each other, which, in turn, impact a resulting form.

Within my current studio practice and conceptual rationale, I am interested in producing wearable artworks that move and make sound in response to the movement of the wearer.