Available Work from the Archive



In nature, beeswax functions as a structural vessel: the honeycomb. Similarly, I use beeswax to investigate the structural container of the figure in which I embed with a myriad of random, brittle, quirky thoughts – one’s inner dialogue.

These figures are multiple castings from an original clay sculpture from which a rubber mold was created. Plied with or cast with found objects and materials, carved into, melted with a blowtorch, even recast.


Pins are thought to be feminine objects yet they are hard, straight and sharp but used with soft, flexible and warm fabrics. These opposing forces form the foundation of my work. I seek to unveil natural beauty and create sculptures that provoke musings about the state of physical, emotional and spiritual well-being.

Pins and needles have shaped work in both my figurative and portrait sculptures; I now carry that examination further into the study of stiletto shoes. This work builds on my current methods of creating sculptures which utilize silicone rubber molds for multiple casting. Once casting begins I work in the moment usually with an initial thought or idea and remain open to what happens.


This work is a study in layers and composition either three dimensional or two. It is composed of numerous parts and various processes and involves an assortment of alterations and evolution. The actual process of creating weighs heavily in the work and has imparted an unconventional approach and a crossover of my creative sensibilities.


Casting encaustic (beeswax with pigment) in martini glasses, egg cups and muffin tins; I create sculptures that explore the use of everyday objects as abstract architectural elements. Whether casting with found objects or blending and layering coloured encaustic; I create singular pieces that are in and of themselves, miniature works of art. Then subverting expectations I mount the sculptures on a vertical plane, grouping the pieces into installations that utilize negative space to create balanced and harmonic visual dialogues. In this way I seek to convey the architecture of the group that, as a whole, transcends the sum of its parts.

A portion of the all proceeds goes to Education for Girls

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