Juicy Fruits explores jewelry’s role as signifier, and a means throughout history for communicating availability, fertility, and fecundity, through the representation of a variety of foods considered to be aphrodisiacs. The work is  constructed from meticulously handsawn steel lace, formed and welded to create pieces that simultaneously read as solid, while also open and airy. The lush lace patterning traverses the entirety of surfaces, sometimes obscuring the truth of the form. In these heavily decorated objects the viewer finds a connection between nourishment and sensual arousal.

The Amend Exhibition was conceived by Secret Identity Projects in the fall of 2020 to celebrate 100 years of women’s suffrage. All the work was for sale and a portion of sales was donated to Black Voters Matter.

In my piece, Overgrown/Overdue, the graphic "I Voted" sticker imagery hides amidst a dense lace patterning, hand pierced in mild steel. The lace pattern I chose to replicate was one from the early 1900s. I have often explored ideas surrounding traditional views of feminine and masculine in my work, piercing lace in steel. As I thought about this exhibition and the 100 year anniversary of the 19th Amendment, I wanted to honor the strength of the women who fought so hard to establish a right we take for granted, while also acknowledging the struggles and fears that many of us felt as the 2020 election approached. The brooch serves as mourning jewelry - for the state of the nation, our disgust, anger, and disillusionment.

The magnolia flower releases a heady scent, attracting and intoxicating those in its proximity. This power of attraction and seduction is what fuels my work. Flowers and fruiting bodies speak of fecundity and fertility, growth being a literal outcropping of that.
 
As a jeweler, I am intrigued by the placement of flowers on the body, both real and fabricated varieties. To adorn with flowers is to enhance beauty, titillate the senses, increase attraction. The wearing of flowers and the wearing of jewelry have acted as signifiers throughout history, proclaiming availability or marital status, among other things. It is this power I find in jewelry to attract the viewer, drawing outsiders to the wearer, well, like bees to flowers.
 
I utilize botanical images in lace, toying with the convergence of masculine and feminine through materials and imagery.

The Sugar series grew out of the international Radical Jewelry Makeover project, started by Richmond based artist Susie Ganch. My work often explores people's relationships to food and to each other, through the rituals of eating. I have a fascination with utensils and the history of silverware. In this series, I worked with a silverplated pewter sugar vessel from the early 1900s, deconstructing the vessel and manipulating elements, then setting them within lace-pierced steel frames. Removing the function of the original object, I chose to highlight the tarnished surfaces and textures, the wear of over a century.

In 2017, I helped bring the internationally renowned Radical Jewelry Makeover project to Baltimore through the Baltimore Jewelry Center. RJM describes themselves as "a community jewelry mining and recycling project focused on education and collaboration. It brings together jewelers, working together to examine mining issues while making innovative jewelry from recycled sources."

Through the making process during RJM: Baltimore, I began working with donated silver vessels and utensils, including a silverplated pewter sugar vessel from the early 1900s. The project and my participation in it has continued, including an exhibition of works at the North Carolina Museum of Art in Raleigh, NC in spring of 2022.

In 2016 I was asked to participate in the Imagine Peace Now exhibition, conceived by Boris Bally, and meant to put a mirror to our society about gun violence in the US. Metalsmiths were given decomissioned guns from a gun buyback program and tasked with making art with them - swords into plowshares as it were. I was at my bench sawing the lace for the piece when I heard the news about the Pulse nightclub shooting. To process the horror of that incident, while "unmaking" a gun was cathartic, but it is with great sadness that I recognize 6 years later that we are still nowhere near solving this problem in our country. Here is the statement that was part of the catalogue:
 
I live in Baltimore, Maryland, and although I have not been a victim of gun violence myself, I see on a daily basis the effects of a city besieged, where more than 300 people were killed by guns in 2015. In the time since this call opened, we as a nation have witnessed the deadliest mass shooting incident to date. I chose to approach the challenge of the exhibition by subverting the inherent violence of the object through beauty and subtle humor. My work often utilizes feminine and botanical imagery to challenge the masculine materials I work with. I hand-pierce steel in elaborate lace patterns, that act as funnels, filters, or growths off of the body. In Ka-Bloom, steel lace emerges from the barrel of the gun, unfurling and folding in a way that mimics the blooming of a flower. The steel lace eliminates the function of the gun, while also toying with the metaphor of male virility as sometimes symbolized by guns. Additionally, the imagery (and title) references the bang flag often used for comic relief in cartoons, as well as the iconic image from the Vietnam War era of a protestor putting a flower in the barrel of a National Guard serviceman’s gun.