The work I have created over the past decade reflects an ongoing exploration of materials, color, pattern, and form. While my artistic foundation was shaped by the traditions of Modernism and Minimalism, my recent work embraces visual complexity, ornamentation, and personal expression. Discovering the history of the Pattern and Decoration movement provided an unexpected historical context for my practice, revealing affinities with artists who challenged modernism's rejection of decoration, beauty, and sensory experience. Today, I embrace the maximalist proposition that "more is more" and Robert Venturi's declaration that "less is a bore."

My practice began in my father's garage, where I developed an appreciation for tools, machines, craftsmanship, and hands-on problem solving while helping rebuild and customize cars and motorcycles. Those early experiences led naturally to sculpture. As an art student, I felt at home in the studio working with materials, machinery, and fabrication processes. Over the past twenty years, I have deliberately expanded my technical capabilities through computer-aided design and digital fabrication. What began as a tool for previsualization has evolved into an integral part of my creative process, allowing me to design, model, and fabricate increasingly intricate forms. Recent advances in 3D scanning, modeling, and fabrication technologies continue to open new possibilities for complexity, precision, and experimentation.

My ideas emerge through careful observation and curiosity about how materials, processes, and systems interact. Throughout my career, I have incorporated water, wind, sound, kinetics, optics, electricity, and both natural and artificial light into my work. These elements transform static objects into responsive systems that interact with their environment and the viewer. Influenced by kinetic artists such as George Rickey, I am interested in the point where highly ordered structures encounter unpredictability. Weather, changing light conditions, movement, reflection, and chance introduce variation into carefully constructed systems, ensuring that no experience of the work is ever exactly the same.

At the center of my practice is an exploration of contrasts and relationships: inside and outside, stillness and movement, solidity and transparency, organic and geometric, natural and manufactured, simplicity and complexity, order and disorder, hot and cold. Rather than resolving these oppositions, I seek to create forms in which they coexist simultaneously. Pattern and repetition establish structure, while color, movement, reflection, and layered surfaces generate visual complexity and transformation.

My process typically begins by cutting aluminum sheets into geometric and organic forms. Intricate patterns are applied to each layer, often in vivid colors that amplify visual energy and depth. The individual components are then stacked and assembled, creating shifting relationships between shape, color, transparency, and space. Suspended slightly from the wall, the works extend beyond their physical boundaries through the shadows they cast, producing secondary layers of pattern and drawing that change with the surrounding light. In kinetic works, movement further activates these relationships, introducing a temporal dimension that continually reshapes the composition.

Architecture, nature, decorative arts, mechanical systems, and cultural artifacts all contribute to the visual vocabulary of my work. Antoni Gaudí's Sagrada Família remains an important touchstone for its synthesis of structure, ornament, symbolism, and wonder. Like the artists associated with Pattern and Decoration, I draw inspiration from a broad range of influences rather than adhering to a singular aesthetic position. I think of this approach as a "small plates" mentality—allowing multiple ideas, references, and visual experiences to coexist within a single work.

Recent projects have increasingly explored themes of growth, transformation, community, and interconnected systems. In Full Circle, a public sculpture installed at Rhode Island College, a sequence of expanding elliptical forms serves as a metaphor for education and personal development. Color, pattern, and form evolve upward through the structure, symbolizing the expansion of knowledge, perspective, and possibility. Similarly, new works included in the Ball of Confusion exhibition, juxtapose organic patterns with mechanical and architectural forms, reflecting the increasingly complex relationship between natural systems and the constructed world.

Personal expression is fundamental to my practice. Ornamentation is not applied as mere decoration but functions as structure, content, and meaning. Through the layering of patterns, bold color, intricate detail, movement, and light, I seek to create works that stimulate visual engagement while remaining grounded in rigorous formal systems. By embracing complexity, multiplicity, and the richness of sensory experience, my work challenges inherited hierarchies between fine art and decoration and invites viewers to engage with a world that is simultaneously ordered and unpredictable, rational and emotional, structured and exuberant.