Hello, My pieces are completely made out of PCBs (printed circuit boards) and components from computers, cell phones, and all kinds of electronic gadets. I find that each PCB is perfect on its own and when put together to form an organic life form it represents the living with mechaincal parts. I consider my art to be mixed media from the electronic world.

All things are not beautiful, but I believe there is an underlying beauty in every thing we see and feel. From every color and texture, shape and form, to all the smiles and every tear. For I try to see it in my everyday life—in each moment. Sometimes all it needs is a different light and the will to understand.

We all have our own unique vision; our very own personal approach on how we see this world as we live it. Simply be open; be more aware. As a photographer, my vision is to be able to capture and perceive the true meaning of life that surrounds us. The fantastic in the mundane. The grace in the everyday ordinary.

My work is simple for I try to photograph subjects that are often too common for words, to photograph in a way that one [including myself] normally would not see otherwise. My work speaks quietly for these are the things that we see and experience everyday—no matter how grand or insignificant.

One not need to seek within; it’s out there. Nothing is ever ordinary. Beauty happens in every moment—if one’s willing.

To do these pieces I lay various ink washes on seperate layers of clear mylar. I then use an x-acto knife to scrap in the lines. All this is done with the visual aid of a 20x stereomicroscope.  The microscope allows the line to be something that exist in a liminal state. A state which cannot be completely understood first hand but exist to us still in physical space.  The microscope allows me to work in this confounding scale. Technology allows us to view these works despite the limitations of our eyes but technology can not understand the work for us.  Telling us that understanding is still a completely human experience.

Touchmarks: The Social Life of Plastic Baskets is a cultural and artistic investigation of a transnational object: the plastic basket. The intention in use for a plastic basket could be for ordering one’s daily detritus. However, the function calculated in the knowledge of production may be, and is often times, re-imagined as it is consumed. The ‘social life’ acquired through an object’s production, consumption, and domestication is reflected in the reinvention of use and meaning as an object crosses cultural borders and is exchanged within new contexts.

Cheap, accessible, and ubiquitous, plastic baskets epitomize our utilitarian reality. The plastic woven pattern, as simulacrum to the handicraft of basketry, evokes a longing for that which the hand once crafted. Each object in Touchmarks: The Social Life of Plastic Baskets is cast from fragments of plastic baskets. Re-appropriating the woven pattern as third generation to its handicraft source, wicker to plastic to pewter, challenges assumptions of what is ‘real’ and ‘authentic’. These re-appropriated objects begin to reclaim the space between what is lost and what is re-invented in relation to notions of authenticity, labor, production, history, and craft.

NOW is the time for POSITIVE change in a world so discouraged. No matter who, what or where you are in the world we can use these “tough” times as a platform for a more positive beginning for all.

“One of the strange things about living in the world is that it is only now and then one is quite sure one is going to live forever and ever and ever.” – Frances Hodgson Burnett, The Secret Garden.

Eden consists of a series of portraits taken throughout Australia. The series originates from an obsessive curiosity into the transitory stage of youth and a human relationship with nature.
The images explore the sanctity of youth, innocence and its inevitable loss and the idea of the Garden of Eden as a metaphor for a place of sanctuary that you cannot return to.
In each headshot the subject, (a young person on the cusp of adulthood), is placed unclothed in a naturalistic setting and stares blankly at the camera. With no evidence of the subjects’ context (apart from tattoos or piercings) the images focus on the sincere and almost romantic beauty of the youth. The subjects’ gaze, although neutral, can be viewed as a response to the tension between photographer and subject and also the experience of vulnerability caused by being unclothed.
By referencing the biblical Garden of Eden, and by placing young people in edenic backgrounds, I am depicting youth as a time of purity and innocence. The images seem to be taken with a protective tenderness and present themselves as an almost personal insight into the subject, however the composition of the photographs and the subjects’ lack of expression, leave the viewer to observe curiously from the outside looking in, able to locate the subjects’ beauty but unable to pin it down and define it.