The forms in this work simultaneously refer to both the man-made world and nature, integrated without literal reference to either one. Parts that might evoke, for example, such natural forms as breasts or haunches, or such man-made forms as architecture or mechanisms, are integrated into a total composition that has no literal reference to animal or machine but seamlessly combines both. The concurrent integration and counterplotting of essential components alludes to a more organic, symbiotic relationship between nature and technology.
The function of this piece as an ornamental vessels stems from time-honored metalsmithing traditions and thus establishes a link to long traditions of household use and ornamentation. Exploration within various formats and the simultaneous integration of aesthetic concerns, utility, engineering, technique, and history provide greater depth and comprehension of forms, feelings, and ideas.
Metaphorically, this work addresses subthemes of decay, regeneration, renewal, transformation, and growth to a more complex, sophisticated state, analogous to the natural cycle
Fingermark Vessel
Vessels produced within the metalsmithing tradition usually have a unique quality of a thin, yet substantial, skin or shell-like structure. This particular piece uses the copper "skin" for both structure and to define a part of the human anatomy, namely the finger, which is also associated with unique individual characteristics and with the signature; as the signature of the maker, the fingermark helps to define and characterize the hand-made and man-made object.
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