I use form as a means to express an emotive and meditative state. An emotion frozen in metal.





Through my love of biological science, I began to study the forms of the natural world.I began my studies in biology, but switched to fine arts when I realized I was spending all of my time drawing the shapes of living things for their beauty alone.This led me to the liberal arts, where I became focused on the psychological introspection indicative of the human condition. Finding it very constraining to think of man as the center of things, I thought, why not merge the human story with that of the natural world? While pursuing my degree, I visited the Museum of Archaeology in the University of Pennsylvania continuously. I had an epiphany then; somewhere between the museums of natural history and art, there lay an imaginary boundary I have since tried to understand. Why the separation?I realized that one single museum could one day house all of human knowledge, art and science together. A cumulative mega-museum without categorical distinction. It is a strange dichotomy to think of human endeavors as being exclusive from the world outside man's control. It is in our interpretation of events, man-made or natural, which we use to draw these distinctions. Could it all be just an interpretation ? I have kept that curiosity about this distinction alive through my work. Today my work deals with fictional as well as rationally-based structures of knowledge.Whether it be a piece of strange scientific artifact that is seemingly out of place in an art gallery, or a fictional archaeological artifact in a natural history museum. The goal is to blur the boundaries that our minds have reserved for the dissemination of knowledge into compartments isolated from one another. I enjoy mixing man's allegorical quest with the empirical facts of the natural world.