As my paintings became more sculptural, I realized I needed to break free of the canvas altogether. The fertility figure is an invitation to not only look, but to touch. I made the figure to fit in and intrigue the hand. Relying on touch alone, the figure reads ambiguously, where front and back are no longer distinct. In fact, the female form could be interpreted as a bone or some other weighty object.

Glass is a familiar medium to the hand. I was fascinated by the dual nature of glass; it is both sturdy and fragile at the same time. Should it drop, it would shatter and yet it is capable of surviving thousands of years. It strikes me that the very fabric of life is similarly delicate and durable.