My earliest memories are of riding horses and drawing trees. As a kid, I doodled and rode my way through twelve years of what was intended to be my formal education. I continued riding and drawing as I studied psychology and writing at the University of Iowa and Cornell University. Once satisfied that my education was adequate, I settled into an obvious and inevitable career as a horse trainer. Though I have few regrets, that choice ruled the direction of my life for over forty years, and chased my incessant need to create art into the category of occasional craft and hobby.
After learning many of the technical aspects of the stained glass craft, I rapidly spun off from the traditional stained glass constructs to develop my own unique approach to the art form. Working in both two and three dimensions, I now create landscapes and 3d geometric forms and vessels.
In my landscapes, I attempt to create a painterly quality through using the innate qualities of glass - its color, texture, and depth - to create a dynamic backdrop for the solder which delineates the image, form, and perspective.
My three dimensional work is multifocal. I frequently use old and rusty metal artifacts like heat vents, tractor seats, and metal floor mats as framework for glass inlays. My interest in architectural models, spacial relations, and city skylines has led me to develop three dimensional glass cities that are individually lit from below.
My fascination with glass lies in its flexibility and its changeability. It captures and fractures light to creates an internal dynamic that is never static. Externally the play between light and glass is infinite as it bounces off walls, reflexes in mirrors, and is captured in door knobs. As external light changes through the passing of a single day, through months and through seasons, the interplay between light and glass is endlessly changing.