I strive to create adornment which is harmonious with the body. It should be a symbiotic relationship, where the jewelry and body enhance one another. Fluid motion, flexibility, and tactility are essential to my work. The jewelry comes alive when touched, and ever more so with the movement of the body. I aim for my pieces to flow sensually and elegantly on the wearer, with the simplicity of design allowing you to focus on this seductive quality.

In my jewelry, I explore negative space. I am endlessly seduced by the voids created between thin, organic lines, and find these linear structures equally intriguing. The negative spaces entice you to look through the piece and consider the background (smooth skin, the curve of the neck, the wearer's surroundings, a fabric's texture, etc.). I am captivated by the notion that, here, the "empty" spaces are just as important as what is tangible. My jewelry acts as a frame and as a screen, attracting your gaze and altering your perception of the ever-changing background.

Continual investigation of alternative materials (particularly those considered unusual in the jewelry context) is a catalyst for my creative process. I seek much inspiration in the endless varieties of retiform (web-like) structures found in nature -- such as cell structures, vein patterns in leaves or insect wings, cracks/fracture lines, and branches. These systems are the basic structures of all living things, and I see in them as much beauty as function. The forms appear chaotic and random, but in actuality are entirely organized, logical systems. These basic linear patterns are a jumping point, and I am continually surprised by where they lead me. Combined with influences from materials and with my existing personal aesthetic, the work evolves into more intricate, ambiguous pieces.