I have participated with art most of my life, from poetry and primitive-fired clay to prose and metal art. My education in sociology, critical theory and economic sustainability, enhances my work. I am researched in matriarchal culture as a means to interpret my own verse, a narrative, The Song of Un.

I am self-taught in oxy-acetylene copper brazing. My sculpture varies greatly, from functional art, complete with scaled renderings to abstracts utilizing scrap and organic technique. Crinkling, wadding, kneading, scorching, burning, such a costly medium as copper has become my ritual of passage, warring with the gods of commodity and my own environmental mindfulness. My fountains can be found in the retail market. My freeform sculpture squirms and gnaws at me from within bins of recycling.

One such bin grows beneath my welding table, random scrap collected from the pristine copper sheet used to create my precision work. The pieces that lie on top are preface. The scrap in the middle, foreshadowing. The dregs at the bottom, setting and theme for my narrative work.

The Song of Un Anthology is a mixed media collection of copper, brass, etching, and verse. Lamenting the forgotten language of intuition, venturing the thrice denial of synchronicity, The Song of Un knows we instinctively know our sustaining relationship to each other and the whole of sentient earth, in spite our inherited shame of paradise lost.