I have been a scavenger all my life—culling a curious or useful thing from the discarded and ordinary objects of life. In my architectural practice, the found object could be a long-hidden window or more broadly a whole building. In my encaustic work, the found object might be a leaf, a root or a disc of paint peeled from the top of a paint can. A central goal in both practices is to examine the additions of time and either preserve the accretions of life or strip down, distill and re-present the object in an essential form—perhaps juxtaposed with a new element—transformed to new purpose.
My work builds on a long interest in texture and pattern. A fascination with the formal affinities and connections of the macro and micro aspects of nature—spanning the level of an atom to a cell to a planet to a nebula—plays a central role in the form of my work. For the past 5 years, the medium of wax has bound my exploration of various materials in pursuit of ambiguity of scale and essence. The transformative element is fire—melting wax, melting metal, changing the form, and perhaps the meaning of both.