FAQs

I create site specific mosaic art for public and private spaces. The work is sculptural and multi faceted and changes with each viewing angle. It’s about exploring color transformation, projection, and reflectivity, all of which gives my work a dynamic and kinetic vibe.

In Hell’s Kitchen, a neighborhood in the Midtown West section of Manhattan. I also use a Maker Space in Brooklyn when projects require special equipment.

1) The natural world: water / water’s reaction to light / fire / sky / clouds / northern lights / fog / earth / stone / crystals / gems / minerals. I love using glass and resins to evoke these beautiful elements and natural wonders.

2) Fractal geometry and self-similarity: Breaking shapes down into proportionally smaller parts fascinates me. This ties into the magic of repetition and what can happen when a pattern is repeated over and over again.

3) Chromatherapy and color science: Ahhh color. I’m OBSESSED. Every color, every shade is magnificent when it is used thoughtfully and placed just right. I have always had an extreme reaction to color, both emotionally and physically and it often drives my mood and informs my decisions.

4) The urban landscape: I have been having a love affair with NYC for 30 years now and many of my pieces echo the silhouettes of the “mountain” ranges I live in the midst of.

5) People who inspire: Clodagh, Gaudi, Matthew Shlian, Joseph Conforti, Olafur Eliasson

One of the reasons my work has been placed in so many public environments is because of its abstract, subjective nature and lack of any definitive message. It really is for you to decide what it means and how it speaks to you. I think Jackson Pollock says it best in the movie Pollock: “If people would just look at the paintings, I don't think they would have any trouble enjoying them. It's like looking at a bed of flowers, you don't tear your hair out over what it means.”

Occasionally, but in most cases they are left un-grouted. The majority of my work is three dimensional and sculptural which makes grouting difficult, if not impossible. With precision glass cutting, I keep spacing very tight (down to a 1/32”). This allows for expansion and contraction but creates a cohesive look without the grout.

My pieces weigh approximately five pounds per square foot. I break the larger mosaics into modular panels that fit together seamlessly. This makes them more managable for shipping, handling, and installation.

This depends on the scope of the project, but once a deposit is received, average lead times are 6 to 8 weeks. This can vary based upon my current production schedule and availability of materials. Crating and shipping can add an additional 10 to 14 days, depending upon destination.

That really depends on your level of experience. Most often, I use a French cleat hanging system that involves installing wall cleats with anchors. For the modular and more complex pieces, I usually recommend that my work be hung by professional art installers and always include very detailed instructions. If need be, I can be hired to hang the work myself or help you find an appropriate installer or contractor in your area.

Some designs are more more fragile than others, but most of my pieces incorporate glass and do demand a certain level of respect. This is less of an issue in private homes, but when placing my work in high traffic public spaces, I often recommend that they be hung in a niche, or over a console or counter where they have an element of protection.

Very little maintenance should be required; occasional light dusting as needed. Feather dusters may be used, or a large, clean, unused, soft-bristled paint brush works well, as it can reach into the crevices. Never spray the mosaic directly with water or cleaners of any kind. Avoid touching the mosaic, as the glass will show fingerprints. However, finger prints or smudges can be gently wiped away with a soft cloth that has been lightly dampened. Different designs require different household cleaners depending on the materials, and an maintenance manual is always provided to outline these specifics.

I have several local fine art shipping companies that I trust with my work. The panels are slip cased/soft packed and then placed into custom made foam lined crates. The shipments are always insured for the full value of the artwork. Shipping generally adds an additional 10-14 days to lead times depending on the destination.

Whether I’m collaborating with a seasoned interior designer, an art curator putting together a cohesive collection, or a homeowner looking to beautify their space in a personal and meaningful way, I always enjoy the long, slow dance that determines my ideal creation for a given space. Sometimes a designer knows exactly what is needed right down to an eight of an inch, and the order is simply placed. But most often a project starts with the mere desire to incorporate my work into a space and the possibilities are wide open. It is this process that ultimately insures that a bespoke, deliberate piece harmonizes with its surroundings. In such cases, this is my usual process and questions I need answered:

—If the location is local, is a site visit possible? If not, then receiving photos of the space is key.

—What are the lighting conditions, both electrical and natural? Window exposures?

—Purpose of the space? High or low traffic? Controlled or unmonitored? Since my creations are usually made of glass, their placement is a consideration.

—Color : when brainstorming with a new client, the color conversation is very important. Which colors makes them swoon, which are off limits, and what is already in the space; how will the space be used and which colors will be the most conducive.

—What is outside of the space? What connects to it?

—Which of my designs/previous creations speak to you?

Once these questions are answered, I’ll take or request measurements and high resolution photos to create an online presentation showing all of the possibilities that come to my mind. Maybe one or two options, maybe ten. It’s an interesting challenge, selling something that doesn’t yet exist, so I create digital mockups that clearly show my creative intentions and how a piece will look in a given space. I go to great lengths to make sure a client is very clear on what I will be creating so that there are no unwanted surprises in the end. Sometimes a small physical sample is used to achieve this. This can be particularly helpful as a client can look at the sample in their space and see how it fits and reacts to their lighting. Once the design is agreed upon, the final negotiating covers price, lead time, transport, and finally installation. A fifty percent deposit gets the ball rolling.

Pricing is determined by square footage, materials, and complexity of design. Please direct message for pricing on specifics.

Illinois State University for undergraduate and Florida State University/Asolo Conservatory for my MFA. In both cases, I majored in theatre and had a rewarding fifteen year run in the entertainment industry, but eventually switched gears and moved into the visual arts. I largely consider myself to be a self taught artist, although I have workshopped extensively with notable mosaic artists including Bobby Pearce and Valerie Carmet and stained glass master, Tommy Giambusso.

Green. Always has been. What’s yours?