The objects I create for this series transform used materials while maintaining a palimpsest of their past. I work with local manufacturer ON3P Ski Co. to reduce the waste generated by their manufacturing process. ON3P crafts their skis from FSC certified engineered bamboo. The skis are cut out of large sheets on a CNC machine. My art is fabricated entirely from their scraps. I incorporate the curves from the ski tip cutouts into my projects as handles and design elements.

Wood displays characteristics of both the nature and the nurture of the tree. The grain pattern can signify growth patterns, age, climate, even trauma and resilience. Trees are also commonly used as metaphor and familial relationships are commonly mapped on a simplification of their image. This series is a response to locating my birth relatives, gaining insight into that which is my nature, and that which is my nurture. Neither this nor that, but pieced from both.

Cover the Spread is a series of kinetic vehicles constructed from found materials. Much like a pull toy or a pet, each is interactive and designed to transport a living plant. Activating the machines and the plants they tote enables the dispersal of plant seeds to random, unutilized public spaces. A geographically distributed graffiti of living green things.

Agnosia is defined as an inability to distinguish patterns. Fiberboard packaging, such as cereal boxes, are not recyclable on Oahu. For this series I was experimenting with shredding the packages in a commercial shredder, and allowing them to retain fragments of the graphic characteristics of the boxes. The pieces were then mixed or sorted, and reassembled in assorted configurations with a sewing machine.

The island of O‘ahu is known as The Gathering Place. The island is home to nearly one million residents, as well as hosting over four million visitors annually. The identity of O‘ahu is defined by a multitude of histories, experiences, voices and iconographies; a diverse conflation that characterizes the sense of place and culture that is O‘ahu. Get Away creates extemporaneous social collages of O‘ahu that explore the paradox of here.

Street Paper is an exploration of creating with free, widely available and often wasted local resources. All materials are scavenged in 96822. Fibers gathered from local plants are combined with forms of paper fiber which are difficult or impossible to recycle locally such as fiberboard packaging, junk mail and colored (flyer) papers, which are used to dye the pulp. Moulds are built from salvaged wood and fabric. Various combinations of pulps and fibers are then recast into handmade paper and forms.

Series, 2012. Stoneware & Terra Sigillata. Inspired by a found remnant shell of a barnacle colony, this series explored the idea of fluid habitats becoming fixed, fossilized.

A selection of sculptures and other objects.

Ideas begin somewhere. A line, a shape, a trigger, a memory, an essence of something evokes a spark in the mind. Inspirations and simple juxtapositions subsequently become the basis for other works. The studio itself has become a living dimensional sketchbook and i find i am confronted by elemental little ideas everywhere. These visual experiments, free from any definition of object as yet, are crafted with great abandon. Rudimentary in concept and beautiful in their imperfection, they are neither insignificant nor valuable. These bits and pieces form an alternative record of my artistic trajectory. They range from crude to playful to abject failures. Rather than finished objects, this show brings into view the byproducts of the creative process itself: the pre-works, the experiments, the models, the things gathered, the back stories and the oddities that cultivate in the studio.

The character of our everyday lives, although generally ignored, is often the determining factor in our interactions, attitudes, beliefs, relationships, successes and failures. We define ourselves and attribute far more weight to the extraordinary events we experience, when our daily routines can really be much more deterministic of our fate. The work created for Minutiae attempts to transcend ordinary reality not by minimizing it, but rather examining the patterns that emerge from the white noise of daily existence. The subject matter in this body of work is neither dramatic nor spectacular. It is mundane and usual and surprisingly beautiful.

‘Inner’ explores the intersection of the lines we knit around our sense of self. Inner as an adjective relates to many expressions: inner city, inner voice, inner child, inner beauty, inner peace, inner circle, inner strength, inner demons, inner sanctuary, inner workings. This body of work examines the personal evolution of how life lessons are learned, unlearned, and woven into a unique world view. Reviewing the relevance of our activities in the world at large, to gain an understanding of place, relationships and the center of our beings.