My current work is highly inspired by architectural forms.  When I look at the skyline I pull out specific buildings and deconstruct them into their core components in an attempt to understand their logic and order.  I use strict geometry, ordered repetition and grids in hopes that the viewer feels they have a concrete and familiar point of reference from which to navigate the structures.  One of my primary challenges is how architectural references can be reinterpreted in the scale of jewelry without feeling like miniatures.  This is where the proportions and structure of the human body become so essential to this group of work.

I like to think of the body as a landscape and to create site-specific pieces of jewelry.  It is the site that serves as the origin of a design.  Based on my studies of the body I begin to understand how the piece must function. Unlike a construction site, the human body is in constant motion.  Early pieces, built rigidly, experimented with controlling the posture of the wearer and the way one carries oneself.  Later work was engineered with an emphasis on transformation and the response of the materials to changing topography.

 When working through a new idea I create models directly on the dress form, immediately requiring a response to the contours of the body. The model materials are often the final materials, with a respect for their intrinsic qualities and recall architectural model materials.  When worn my jewelry desires to go beyond applied adornment to become one with the body, echoing its curves and responding to the subtlest of movements.