Working in abstraction allows me freedom with the forms I use. I generally work intuitively without sketches. I have a tendency to get locked in to a singular idea of an image if I sketch it out first. By working from concepts and vague images kept in my mind serendipitous accidents can occur. Committing a sculpture, in image form, to paper often signals the death of the project because its visual actualization makes me feel the work has been completed, it has left me. Each sculpture represents a part of me, be it raw emotion, existential plight, or simply musings that are physically manifested. When a work is in progress, I like to let the materials lead me, in a way, to the final form. I keep a stockpile of both scrap and new steel in my studio, because more often than not, the shape of a trimming or a line from an old bent rod will inspire what happens next.
          As steel is my primary medium, I am greatly interested in exploring the dichotomy of creating objects strongly influenced by nature from a manufactured material. In a way this duality, of the natural combined with the manufactured, is experienced by everyone on a daily basis; it just goes unheeded.