Nearly three years ago when I decided to explore basketry as my primary form of expression as a visual artist; my frame of reference was rather traditional. I chose pine needles and raffia as the materials and coiling as the method for construction. I drew inspiration for the forms from my experience many years ago as a production potter. Then, the combination seemed to suit my sensibilities.
Shortly thereafter, borne out of a sense of restlessness of sorts, I began to explore and experiment with various materials and forms. During this period I spent considerable time researching the history of basketry, now 22,000 years old. Although I gained great insights into the past of the craft, synonymous as it was with utility, I found myself inextricably drawn to contemporary basketry, now 25 years old. Opportunities for exploration of materials, forms, and expression abounded. Quickly, my attention became riveted.
Currently, I make multi-media (contemporary) baskets. My primary materials include, but are not limited to, spun paper, black bamboo, and magnet wire. My primary working methods include, but are not limited to, knotted netting and wrapping. The major emphasis of my design approach is to create a sense of visual unity between the idea, the form, and the materials I use for each basket and between each piece within a particular body of work. I am also interested in expanding the definition of a basket. I achieve this by experimenting with materials and techniques to produce inventive baskets that have a high degree of craftsmanship but do not depend upon established traditions. The nexus of my philosophy as a basketmaker comprises three main components: refining my aesthetic sensibilities, strengthening my visual vocabulary, and maintaining high standards of craftsmanship.