Handmade

Charcoal Drawings

Hyper Density, 2012, charcoal on paper, 60 in x 84 in, private collection

A large-format charcoal drawing built through accumulation and repetition, where thousands of individual marks gradually resolve into a field viewed from a distance.

Shadow Sculpture

An installation of cardboard paper tubes spanning a corner, using light and shadow to complete the form.

Nest, 2013, recycled cardboard tubes, 60 in x 60 in

Poke - A dish that puts soap in its place

I became obsessed with the small frustration of a bar of soap sitting in its own water and slowly dissolving. Poke was my deliberately over-considered response: a soap dish that lifts the bar away from the surface rather than allowing water to collect beneath it.

Poke, basswood 2010

I first learned of Philippe Starck’s iconic Juicy Salif in design school and was immediately struck by the conceptual clarity and the playfulness of the object. It became an important lesson in design: to always flip things on their head, to not stay entrenched in how things are currently done, and perhaps most importantly, to view the world around us as malleable and always open for reinterpretation.

Poke was my take on an everyday frustration and an ode to the iconic object by Starck.

Juicy Salif, Philippe Starck for Alessi, 1990

This Damn Thing Won't Stop Following Me Around

Sculptural installation at Studio 93

This damn thing won't stop following me around, chicken wire, plywood plinth, studio lights and gels, 2015

Wheelbarrow for my nephew Sully

I designed and built a working wooden wheelbarrow for my nephew Sullivan. I wanted it to feel like a real object rather than a toy scaled down for a child: simple, durable and made to be used, even ridden in.

Built by hand from hard maple and Baltic birch plywood, with mortise-and-tenon joinery, dowels and removable wing-nut connections.

SullyBarrow, 2026 Maple and Baltic birch plywood.

Pushthrough Paintings

A series of material experiments made by masking areas of raw canvas with beeswax, then forcing successive layers of paint through the weave of the fabric from behind. The process gives up some control over the final image; the painting emerges through pressure, resistance and repetition rather than being composed entirely on its surface.

Process Regress Solo Show

My 2013 solo exhibition in Vancouver brought together drawings, sculpture, photography and installation produced across several years of studio practice.