I spent hours pushing a broom, testing samples and reconditioning turn of the century textile machines at my parent’s manufacturing plant.  I can easily conjure the uncanny feel of the place: creaky wooden floors, cantankerous iron machines, and rows of tarnished columns fading into darkness.  The plant had a singular brick wall of neglected windows that ran parallel to the Merrimack River. I could hear rushing water when the factory lines were not running and was eventually able to see the river as I grew taller. These experiences ground my affinity for manufacturing processes and industries, intrinsic components in my artwork.

Through the investigation of industries, my work reveals overlapping narratives of production, archiving and history.  I adapt an archival structure to document my explorations and making of artwork on historic sites.  The resulting archive maps layers of histories connecting my craft with the hands I watched while growing up.  My background as a mold maker and fabricator in various commercial enterprises, including foundries, zoos and aquariums, is also revealed in my work. 

I react to, and document site and trades through the lens of an artist, archeologist, manufacturer and exhibit preparator.  Materials and process drive the content of my art, from conception to completion.  I am interested in the ways inherently neutral elements can provoke an array of meanings.  My process of making provides the framework for these inquiries.  As a kinesthetic learner and maker, experimentation and collaboration not only inform use, characteristics, and tolerance of matter; the production of making unequivocally connects me to the materials I am working with.  By mimicking repetitive stages of production, my work unifies process and content revealing multiple layers of personal and regional history.