In 2008, I took the leap from a successful eleven years of practice as a structural engineer to pursue my art career on a full time basis. I am very proud, and lucky, to have practiced with some exceptional consulting engineering firms during that time, and some of the leading engineers in the field. The last five years of my engineering career were spent as a part of the team at Silman Firm, one of the most prestigious and interesting structural engineering firms in the country. Among the many incredible projects in which Silman has been involved are the historic preservation of Frank Lloyd Wright's "Falling Water", the Guggenheim Museum (NY), and the complex renovation of the Star Spangled Banner hall at the Smithsonian's National Museum of American History. The list of new construction and historic restoration projects is long and fascinating, and I am happy to see it has been growing wonderfully since I left years ago.

My past work as a structural engineer both informs and strengthens my sculptural and design work. Creatively, I feel that my engineering background is visible in even the most organic, free-form and passionate of my sculptures through confident and, at times, maniacal craftsmanship. In my more meticulous and precise pieces it is plainly obvious, though tempered I hope by the mysteries of the science that undergird the practicality of the engineering. I see science and nature, precision and passion as inseparable in my work. My personal history melds with my present visions to bind these together in my artistic work.

I approach each new creation with a technical understanding of its structural and material properties, and behaviors, which allows me to take creative risks with increased surety of the outcome. Beyond my aesthetic and artistic choices which impart the design challenge, I also approach the process considering how the artwork may interact with structural systems and environments in which they are installed. This interpretation and analysis of spaces lends itself particularly well to being able to carry out safe and efficient larger scale commissions and public art installations. Being able to call upon daily the intersection of these two areas of my creative and intellectual life, the engineering and the sculptural, is both useful and wonderful.