I consider objects to exist as more than just things able to be seen, felt and perceived. I appreciate objects for their ability to act as containers —in actuality, resembling desk drawers and boxes which hold papers, or, metaphorically, as in a book containing unlimited information and narratives. To me, these spaces are a succession of all that is inclusive, that is within the limits of the sky and beyond. I am interested in the nature of space, not the negative voids but rather the defined area that has the possibility to contain, like the repetitive interiors and exteriors of Russian nesting dolls.

Known in some folk art circles as “quilting for men” , marquetry, the method of woodworking I have begun to employ, involves using small pieces of different, and beautifully figured wood veneers to “paint” a picture to decorate or define a two dimensional surface. The early examples of Italian marquetry, also called intarsia, which can be seen in the Studiolo Gubbio at the Metropolitan Museum of Art, were also sources of inspiration.

In addition to using the veneers to create images, I have also used the technique of parquetry to depict the floor surfaces in the interior scaled rooms. The primary difference between the two processes is that parquetry is the creation of geometric patterns while marquetry depicts pictorial images.

The structural forms of the works reference early British Campaign Furniture.

“Campaign furniture, designed to be folded up, packed, and carried on the march, has been used by traveling armies since the time of Julius Caesar, and even earlier. With the rise and expansion of the British Empire in the eighteenth and early nineteenth centuries, …British furniture makers produced for this new class of traveler some of the more stylish pieces of portable furniture ever made. Such renowned designers as Chippendale, Hepplewhite, and Sheraton competed to devise ever more elegant and ingenious “knock-down” chairs, tables, desks, bookcases, sofas, and beds, all in the height of fashion.”

- British Campaign Furniture : Elegance Under Canvas, 1740-1914
by Nicholas A. Brawer

I used to move a lot, as most transplanted New Yorkers do their first 7 years or so in the city. I used to carry everything with me in bags. Sometimes my world was contained in these carryalls. Thus, some of my scaled down narratives happened within a woman's purse, containing a moment within 1/4" scale.

I grew up in the Midwest.
I went to school in the Midwest.
This enabled me to learn about the vastness of space and what I could do within such inexpensive real estate, through these narrative installations.

These are very early works.
When I loved welding and cutting steel with a torch, before I even thought about what I was doing, but just did stuff.