I make highly ornate, complex collages. My current source material is Vogue Magazine, which I cut up and rearrange into abstract patterned images. I slice the pages selectively into strips and glue them, one by one, to a substructure. I alternate layers of paper with resin, a glass-like coating. The found photograph is my lavishly available source--often "found" in multiplication because I use several copies of the same magazine. The paper scraps, suspended in the resin, actually cast a tiny shadow on the lower layers. On account of the shadows and deep space they flirt with being sculptures.The resulting object is a square-ish disc that has 15 to 20 alternating layers of resin and paper. The final surface is highly glossy, with rounded edges.

My work is made up of 'blades' too--many thousands of blades of paper. Like a prairie, my work is a mix of randomness and system: a strange, breathing machine made out of flowers and fungi.

 I love what already is.  The world, as is, offers bounty.  I love to sort it, organize it, catalogue it, and liberate it.  I make this bounty bigger and  weightier. American fashion magazines, already excessive in literal mass and volume, come to my door monthly.  I anxiously examine them to consider the true meaning of artifice, style, and beauty. I do this, of course,  by reading them upside down. In the studio I catalogue the magazine images by color and texture.  The scissors is my scalpel, the page my Petri dish.  It is an semi-scientific sorting and reordering of the basic formal elements of modern "style": photography, Photoshop, skin, hair, clothing.  At the offset, fashion magazines offer a fairly rigid, one dimensional message. Anthropologically speaking, one Vogue magazine has social impact only among a survey of many magazines, commercials, products, and buying patterns.  In the lab, the studio, I unleash their true potential. These paper creations wait with eager longing to be reordered for my purposes. Is fashion only the "cladding" on the structure, and the structure, Platonically, is the thing?  If so, then all of nature itself is the heavy cladding of the world and somewhere under there is a true message, and radical. I do not disguise or criticize the underture of fashion, I reveal it.  Under my surgery, it become heavy with meaning. "Style", suddenly, is aggressive and transformative.

 Medieval stained glass, iconography, and mosaic are some unlikely culprits of inspiration, also considered to be mediums of transformation.. A rhythmic topography, map-like, becomes a satellite image confused with a blown-up cellular structure. They are enormous maps, a Petri dish of cancers, worm holes, embroidery, mosaic, and star-scapes.