top of page

Victorian Harmony


As I search for ingredients for my pieces I come across items that I see all of the time like shelf brackets or glass door knobs. I frequently find washboards and it’s amazing how many different sizes and varieties there are. There are wooden ones, there are metal ones and occasionally I find glass ones. Until now I have never found a brass one.  Not only is this washboard relatively rare but the texture of the board, rather than having horizontal ribs, has a beautiful pattern that looks like it’s woven brass. Adding a brass grater to this texture made for such a beautiful base for a Foundling. I find that my work has gotten more complex these days. That I am trying to create a kind of “fugue” of patterns and textures. That is not to contradict Mies Van Der Rohe when he said that less is more, just that sometimes you need more to, well, make it more. Not unlike the illustrations I used to do with colored pencils. Use too few colors and the work doesn’t look complete. Use a lot of colors and the work can look busy or messy. Use even more colors and the work begins to take on a kind of harmony with all of the colors playing off of each other. With all of these patterns and textures I will call this work Victorian Harmony. This piece is 13" x 24" x 5".

Recent Posts

See All

There is something so beautiful in the forms found in musical instruments. Their beauty comes not merely from the basic function of these parts but from the years of refinement of these elements. I so

I was working on a piece and although I really liked the center elements, the trick was having them as a focal point without them getting lost. When I was done, the work wasn’t “right”. As I am often

I can find working with a box format not so much limiting but predictable. Working in a circular format, for me, is much more challenging. Somehow these forms are just more difficult to make satisfyin

bottom of page