The term "bricolage" - working with whatever is at hand - best describes my creative process. Whether I am embossing copper by impressing a watch part or a twist of flattened wire picked up on a Moroccan street, or shaping a bowl from cut-up etchings inspired by the movement of light on water, or using desert metal or the bottom of a flea market box as a support for new work, I am always involved in a cycle of collecting, combining, and often recombining.
I work intuitively, allowing lots of room for chance. I am very drawn to texture and pattern, usually nature-derived: the meander of rivers seen from the air, surf-sculpted sand, ripples in a pond, the slow surge of trees, the star shapes of ground-hugging plants. The desert offers an endless succession of "compositions" - things that have grown, blown, fallen, washed, dried and become visually related to one another by chance, and the fact of being perceived.
My current work begins (and sometimes ends) with encaustic monoprint. I use the process in the same spirit as the natural phenomena that inspire me. Like the unpredictable arrangements that occur on the desert floor, monoprinting allows me to invite unexpected events to occur on the printing plate. Some recent works are made by drawing directly on top of a print with colored pencils.