In 2007, after living in multiple ever-changing environments, a new genus of sculptures was born. A variety of studio arrangements followed by relocation across the country has been the catalyst for my new work. During this period, I discontinued the use of harsh varnishes, enamels, and other hazardous materials. My studio was drastically downsized, thus forcing me to re-think the ideas of material and space.

A small abandoned lot was located behind my residence in the industrial section of Long Island City, NY. With an outdoor studio space in mind, I needed to find a material that would accept exposure to the elements, and naturally transform and ripen with time. Copper was the perfect solution.

A combination of rusty I-beams and falling scrap metal from the nearby construction sites, and the fresh tangled vegetation from my garden fused together to create a unique ecosystem. My sculptures soon adapted. The rough edges of the raw copper bent and twisted into organic shapes, and soon camouflaged into their surroundings.

After moving West, these scientific misfits continue to change and multiply in the land. While hinting at certain animalistic features, they remain ambiguous, curious creatures. It is important that the copper and wood structures be placed back into nature, for a time, to enhance and preserve the rich qualities of the material.