Deeply relating to something on such personal level as to wear it on one's own body provides my motivational force behind choosing jewelry as my artistic format.  

Especially today, in our highly digitized world, I believe it is so important to touch and feel things.
To have a tactile human experience interacting with objects in real life, in 3-D, not just on our screens.
To touch, to experience the weight of something, to feel its temperature change as it rests on my skin, makes me feel more alive.  Jewelry is often a most-prized possession or heirloom; a souvenir of faraway lands; a marker of life's momentous occasions; an expression of individuality; a healing amulet or talisman.  Even when the actual materials aren't the highest on the preciousness hierarchy, jewelry is magic and fantasy.
And jewelry is power. 

I strive to make pieces that are direct, honest and uncomplicated.  I want the work to possess a level of wit, thoughtfulness and technique that I arrive at one of two ways: purely through intuition or through deliberately slowing down and taking my time, allowing ideas to simmer.  
I believe that even when one lives a simple, more humble existence,  they can still choose to be surrounded by objects of utility and of beauty.  The best is when those chosen objects are both. 

Have you chosen well? 
Do you love what surrounds you?
Do you crave more beauty? An aware, awakened beauty? 
How do you slow down? What gets your attention? 

It is my purpose to create something that will matter to you. 
To bring you joy. Generate curiosity. To radiate your inner light outward. 
To make you feel more like yourself, more alive. 
To inspire slowing down and taking time to notice the little things.
To show reverence to small details of beauty in a tribute to every ordinary day.



When making, I always consider the piece on the body. A piece of jewelry can become a part of a person- if someone saw it off of you or away from you, they'd still associate it with you. You would be missing the piece of jewelry and the piece of jewelry would be missing you. While I'm informed by trends, appreciate them,  and sometimes even buy them, they do not drive my making.  
I have slower roll.  Fast is overrated. I strive to create compositions and arrangements that are not too rigid, stiff or perfect. I want them to be well-made but not over-crafted, not too tame. I hope they come across as well-considered, slightly unruly, always spirited; walking the fine line between happenstance and deliberate. 

I often use natural found objects as my "jewel".  Collecting and keeping of objects is a very human thing to do.  They whisper to me what they'd like to be and I coax out that beauty and give them a new life and existence as something that can be worn. Embracing the Japanese wabi-sabi philosophy, I am drawn to imperfection and impermanence. Nothing lasts. Nothing is finished. Nothing is perfect. I accept transience.  

• What do I hope these pieces bring to a person who does not have sentiment for these objects?  

I hope you can sense the presence of my hand added to the found. . . a style of arrangement and composition that is in-keeping with the object's vocabulary, while quietly transforming it into jewelry.  I'd hope that you ponder where these objects came from - imagine a time, a place, relate it to journeys or discoveries of your own; question your own notions of what is precious and valuable. But mostly, I hope that you want to carefully touch the piece, examine it, participate with it, and try it on

When I am making pieces that do not hold found objects, I am undeniably still inspired by them and their sculptural form, movement, line quality, repetition, and luscious colors and textures.  My work is not painstakingly planned out. I often begin by writing lists of words and phrases describing my approach to a particular piece.  My process evolves through working with the material hands-on and the problems it presents, and my desired effect.  

While I seek resolutions, I know I am on the right track if I get goose bumps. Or Butterflies. 
I hope you do too. 


I am committed to designing and making in a way that minimally impacts the environment. I carefully consider my materials and their implications on the world, its beings, and my health.  I only purchase recycled metals from reliable, reputable sources. I endeavor to make fine objects and offer them at attainable prices, so my tribe may adorn themselves and each other.