These sculptures offer an intimate engagement with the physical world, finding "objectness" in the way color usually finds emotion.

By reducing or eliminating pictorial and figurative cues, the resulting objects refer only to themselves and quietly bring attention to the phenomena of "thingness" and "objecthood".

Metal coat hangers are burned red-hot, cooled and hammered straight, then re-bent into various flat geometric shapes. Plaster is layered into negative spaces, and using rasps, files, and very sharp knives, is carved bone-smooth.

The tarnished, patinaed metal rods and random oxidation-stained plaster, suggest imperfection, aging, and impermanence.

Similar to a single musical note being the basis for complex melodies, these sculptural moments embody simple gestures or small equations of how all objects appear as they do.