My work is interdisciplinary in approach and concept. Just as words, sounds, and images rooted in memory may trigger the composition of a poem, collage is a mode of perception that prompts me to integrate different sorts of accumulated language—verbal, visual, musical, spatial.  My materials include antique literature and music books and other ephemera that correspond with human wonder and desire.  Fragments of lived experience are the bricks and mortar I use to build, constructing new spaces informed by time’s passage.  

Early life in the home of an architect and a violinist shaped my aesthetic. Exposure to the art of architecture encouraged interest in spatial relationships, taught me to read elevations and visualize their 3-D intentions, and, at construction sites, to appreciate the evolution of concept to form. Music played through and where words ended, roused layers of emotional response, and altered my sense of place and time. Together, these ingredients fostered an affinity for abstraction and design.  

In one of my favorite books, The Poetics of Space, philosopher Gaston Bachelard explains that an inhabited space transcends its geometrical constraints, that it becomes a container in which past, present and future reside. I love his vision of the house as “an instrument with which to confront the cosmos”.  It is this emotional and inclusive sense of space that inspires my work.

At the end of the day -- or night –- my work relies on juxtaposition, metaphor, memory and matter to express some sense of underlying order, humanity, and emotional intent.