2022-

I am a designer and artist working primarily in architectural modes to create objects, images, and habitable spaces informed by sustainability practices and human habitability.

I my recent work includes additions and home renovations along the east coast of the United States, as well as visualizations and design for projects internationally. My design work is focused on successful and sustainable outcomes that retain both character and comfort for their owners. Feel free to contact me about projects of any scale!

My primary research interest in architecture focuses on structures and spaces with a predilection for encouraging expressive movement and emotionally present occupation. I blend that research with sustainable practices and environmentally responsible design, by evaluating and designing interventions for structures that are known for consuming large quantities of energy.

I focus my artistic research so it functions in concert with ornamentation and ritual in occupied space. I focus on materials and processes that require meditative interaction with my body. Through the act of making and process-driven research, my work prompts discussion on the nature of conscious occupation and place-making within the context of human bodies moving through space.

I use jewelry that is intentionally designed to prompt critique of traditional masculine roles when dealing with loss and familial fracturing. Through my own personal experiences with loss when compared with historical conceptualizations of mourning in the late 19th century when compared with present socially acceptable mourning practices.

As a maker I work continually in multiple forms of media with particular emphasis on computer-aided design and 3D printing, as well as work in metal and plastic, printmaking especially etching and lithography, to glass, ceramics, fibers, wood, and digital media, I view the melding of techniques as essential to the demonstration of ideas to physical and digital spaces.

I believe it is imperative to push the boundaries of research by “getting your hands dirty” design is an evolving research practice for me. I am fundamentally “interdisciplinary” as an architect, artist, designer, jeweler, printmaker, glassworker, bookbinder, writer, figure skater, and human. When I want to study and learn about a topic, I make it a part of my life, lived experience shapes my research.

It is better to be doing.

2021 -

I am an architect, designer, and artist working primarily in architectural modes (that is to say process-driven research and development) to create objects, images, and habitable spaces informed by sustainability practices and human habitability. I hold a Master of Architecture from The Tyler School of Art & Architecture, and a Bachelor of Fine Arts in Metals/Jewelry/CAD-CAM from the same.

My recent work includes additions and home renovations along the east coast of the United States, as well as visualizations and designs for projects internationally including publications in Interni Magazine for Furio Salone - Design Week Milan.

I focus my artistic research so it functions in concert with ornamentation and ritual in occupied space. I focus on materials and processes that require meditative interaction with my body.

While my current scholarly research project is delving into and defining locality and earth pigments within the greater Philadelphia region (100 mile radius from center city) though still in its nascent form at the moment.

As a maker I work continually in multiple forms of media with particular emphasis on computer-aided design and 3D printing which I am a specialist in, as well as work in metal and plastic. My current graduate work is in printmaking, especially lithography. Through the act of making and process-driven research, I am exploring my relationship with human physical labor and "hand-making" processes in concert with machine intervention. While critiquing the audience engagement, my images are the male gaze on the male, focused and intended for specific audiences.

It is better to be doing.

2017 -

This is my long winded but complete artists statement, that also serves as a manifesto on my current and evolving artists practices.

Humans have a predisposition for mourning and grief, every individual has a different association with the symbols and responses to loss that resonate with their experience. I create objects and spaces that are specific to my personal experiences, to communicate and connect with others who may feel similarly. I address my own personal losses and triumphs through the creation of objects and spaces. It is my intent to explore the relationship between grieving and space in a physical sense through the act of making.

I am interested in the experiential and emotional states humans feel and associate with death. There are only two events which all humans share with each other. Birth and Death, where that in between occurs is unique. I am honoring the experience of grieving and of rebirth through my works. I use forms inspired by the fleeting trickle of water over a bridge, the flame and smoke as they expend and effervesce. I look to the most tranquil moments under a moon after snowfall, incense burning in a chapel, a single note echoing through a cavernous hall, the appreciation of marble and steel in a mausoleum; as inspiration. These moments are what I honor and respond to.

My most recent works have explored form in the grey scale, I find that color implies emotional significance and the aim of my current works is to discuss the absence of those emotions. As we come to balance and peace with our losses and gains the extremes of color begin to lose significance. Through the greyscale purity in form can be observed without external context.

I choose material as a starting point. The Flute utilizes the machining and visual properties of acetal plastics. Twisted Wings takes advantage of translucent photopolymers interacting with silver. Burn it all is matte white nylon it has no reflection at all making the form central not the surface. Bone Orchid uses an opaque photopolymer to synthesize the appeal of an idealized skeletal remain. My objects take advantage of the material from which it has been made and the unadulterated construction of form. Technology and CAD processes are vital in this, the capabilities and formal constraints of traditional mediums evaporate when rapid prototyping and CAD software are used not only as a tool, but as a medium for expression. "Impossible" forms and shifts in thickness or direction are not hindered by the human hand. CAD allows my mind to create without the limitations of where a tool may or may not fit when jewelry scale objects are concerned.

It is my intent to create largely useful objects ones which serve a function or augment a space, not simply jewelry for its own sake, that is not enough. I feel that for my work to have value and to be of some importance it must have a purpose besides simple adornment, it must express emotion if it is jewelry, or better perform an action if it is not. I am concerned with how space is defined and occupied and how that effects the individuals interacting with my work, or a place that I have designed. All the senses are my concern and the deeper spiritual needs of my audience is the province of my work, my interest, and my intent