In mid-November 2008, I left an over 10-year career as a structural engineer to pursue my art career full time. 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 first half of my career was dominated by my time spent with the wonderful Maryland firm Wolfman & Associates. The last five years of my engineering career were spent as a part of the DC team of Robert SIlman Associates (now simply Silman), 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" and Guggenheim Museum in New York City, Ellis Island’s stabilization as well as that of the Lincoln and Jefferson Memorials, and the United States Supreme Court building. We also oversaw the complex construction of Zankel Hall beneath Carnegie Hall and the Smithsonian’s Nation Museum of African American History & Culture. The list of fascinating new construction and historic restoration projects is long and fascinating, and has been growing wonderfully since I left years ago. In all, over the course of my engineering career I acted as project and/or design engineer on over one hundred projects of varying kinds and sizes.

My past work as a structural engineer informs and strengthens my sculptural and design work, and inform the underlying inspiration I find in naturally occurring pattern and formations. Creatively, I feel my engineering background is visible in even the most organic, free-form and passionate of my sculptures through confident and at times a maniacal pursuit of craft. In my more meticulous and precise pieces it is plainly obvious, though tempered I hope by the mysteries of the science and nature that under the practicality of engineering. I see science and nature, precision and passion as inseparable in my work. My professional history melds with my present and meld in my artistic work.

Technically, I approach each new creation with a rounded understanding of its structural and material properties and behaviors, which allows me to take creative risks with increased surety of outcome - I don't like to waste material and time. When necessary, I can approach an installation process with an understanding of an artworks effect upon the structural and aesthetic systems in which they are installed. This lends itself particular well to carrying out safe and efficient larger scale creations and public installations. The intersection of these two areas of my creative and intellectual life, the engineering and the sculptural, is wonderful and useful.