About

 Living in the foothills of Vermont, I find a solitude that is peaceful and comforting, especially when I walk through the woods surrounding my home, collecting objects that catch my eye. As I’ve wandered through these woods over the past several years, I've started collecting acorn tops and considered how I might repurpose these objects, each one as unique as the seed it was designed to protect. 

I started to think about how each acorn falls to the ground to fortify and sustain the variety of woodland creatures that inhabit the forest. Like these creatures, I was filled with fresh anticipation and wondered how the acorn tops could be transformed, and how they might sustain and fortify me.

As a visual artist with a background in photography and printmaking, coming of age in the still-analog era, I’m exploring the intersection between the physical world, unique and within reach, and the world photographers and printmakers strive to reproduce. The digitalization and expendability of photography and print expands our accessibility to the image, but also reduces the individuality of the original subject through its many iterations. Conversely, the natural world is composed of objects akin to original works of art. Each is distinctive. No two oak trees are alike, nor are the acorns from which they fall.

Within this rich world of nature and imagination, I began to explore how I might incorporate two-dimensional art and artifacts inside the acorn tops, reconsidering the ways existing artworks might be presented in a functional form. This body of work seeks to juxtapose the reproducible and recognizable with the natural world and its distinct and irreplaceable elements.