Historical research combined with labor-intensive craftsmanship form the core of my art making practice. Drawing on my experience of attending childhood art school classes at a natural history museum later coupled with my post-MFA years spent working in a library, I developed the core skills and interests of my studio activities.

Frequently employing an experimental approach to odd and unlikely materials, I mesh craft, sculpture and photo-based processes into the reproduction of both objects and experiences. The resulting works offer up alternative narratives for personal, cultural and institutional histories that are underscored by a quirky dark humor.

These intertwined processes have coalesced into a variety of topical projects such as hand-crafted reproductions of natural history dioramas made from household cast-offs; the reconstruction of a small town museum in Newfoundland that appeared to have been assembled by a misguided PTA committee; a collection of specimens from the Museum of Canine Eugenics; models of the melting snows of Kilimanjaro;  a museum of counterfeit moon rocks; and images of Rust Belt industrial decline produced as Walmart tapestries.