My work is often an exploration of contrasts.  I work primarily in steel, but I also add other metals such as copper, aluminum, bronze, and stainless steel to highlight certain details.  This visual disparity in my work is further augmented by setting rougher forged textures and finer finishes side by side.  For example by using hand sanding, mirror polishing, and/or rust pitted directly against black steel.  These dissimilarities communicate by underlining something specific; they ensure that the viewer becomes aware of something that, if not for the incongruity, might otherwise go unnoticed.

Central to my process is that the material itself, every step of the way, has a say in how I form it.  Careful attention is given the hot metal between each and every strike of the hammer.  Does that knobbiness warrant accentuating, or must it go away?  Does this edge want to slowly drift to the left, or shall it remain straight?  Does that bulge need to become a feature, or should it be minimized?  These are the internal dialogues I have with myself and the work at all stages of process.  Why? Because metal is a powerful orator, if one only chooses to listen.