I’ve always had more creative energy than I really know what to do with, and as an adult I discovered that the intersection of metalsmithing and sculpture is the perfect outlet for that energy.
My work is an intersection of metalsmithing techniques and sculpture that is informed by my experiences living in an environment of extremes. It is a reflection on the rapidly changing aspects of the natural world, and a reaction to the unique surprises I’ve encountered while living at a high latitude. My recent work also explores the context of my geographic location through imagined wayfinding devices. These devices are part map marker and part Ouija planchette. They are artifacts of my personal journeys that allude to the unseen influences that have have directed me to the places I have been. Mapping and wayfinding conventions are the vernacular language through which I am processing these journeys. My pieces usually take shape from metal, stone, and glass – each with tactile qualities that invite a person to want to hold, use or wear them.
So much is unique to living at a high latitude. I’ve learned that the long winters and short summers yield much much that can be foraged that is both edible and medicinal. Discovering these resources and incorporating them in my work is a way of sharing this knowledge with others. Also unique is the northern climate, which often challenges what I have previously taken for granted. The physical manifestation of the climate I find most striking, like thermokarst polygon textures, patterns of methane bubbles, and the land-forming power of melting ice lenses. I look for opportunities to incorporate these into my work to document ways in which climate influences life.
Making art is the continual process of questioning and uncovering aspects of life. It is a translation process that helps me understand what is salient in my mind and allows me to test if it resonates with others.