Broad and sporadic in reach, I work in many manners and for myriad purposes.

Observably, I draw from my mentoring Grandfather who is of equal parts witful whimsy and stoic solemnity.

While the left hand illustrates playful narratives which poke fun and undermine damaging paradigms, power structures, and cultural absurdity, the right paddles through the raging narratives of how beings struggle and thrive in keeping their heads above water—and how they relate to each other while in the frying pan.

And handiwork, no-holds-barred.

I use a wood, wool, wax, paper, skin, oil, tar, sinew, and iron. Fibre and filament—industrial materials and traditional art making media. Media and process are very important. They carry their own intrinsic value and conceptual weight. However esoteric these may be, everything used to make work can and should be calculated. I rally against the arbitrary and champion the reconsidered.

My work is increasingly narrative based, multi-genre and mixed media. While most easily identified in the past as a printmaker, I have been integrating my woodworking and craft skills into pieces and processes as well as incorporating my sensitivity to materials and knowledge of antiques, artifacts, and salvageable lumbers, metals, tools, instruments, etc. While critical theory, analysis, politics, sociology, spirituality, and a variety of other broad considerations are ambivalent through my work, I am especially interested in settler/Indigenous studies, colonialism, diaspora, migration, history, language, and myth as well as the dynamics of cultural and language loss, preservation, and revitalization. I am highly concerned with authenticity and critical engagement with my own histories.