Glass has always fascinated me; from the first piece I saw as a child, to the works you see before you today. Glass holds the ability to reflect light at one angle, yet become transparent at another, tactile, and fragile. Most interesting of all, glass freezes a moment in time. The tool marks and bubbles I force into glass will greatly outlive my physical self. As an artist, I mercilessly ask myself ,“ What is it you wish to say? What do you want to leave behind?” These questions have proven to ever motivate my creations. I find that in order to make sense of the wold I live in, I need to reflect upon my personal encounters. I find myself pondering my emotional motives, as well as my desires and ambitions, thus clearly revealing what is truly important to me.

After two years wandering around the local glass shop in Seattle with little technical skill, it was suggested to me that I look into the Pilchuck Glass School. I knew little of the place or its purpose, but was curious. My mother acquired an application, and at the age of 17 I was accepted to become a student of Master Glass worker Randy Walker. Over the years I would also study at Pilchuck under renowned artists such as Preston Singletary, Karen Willenbrink, Richard Royal, Ross Richmond, and Sally Prasch. At this time in my early career I did not know anything about Pilchuck, Randy Walker, or how deeply connected to the American glass movement they were. Still I was excited to meet other glass workers. Upon arrival I quickly learned that the Pilchuck Glass School could very well be the global epicenter of the modern glass movement. Founded long before my birth by Dale Chihuly and many other monumental glass figures. During Walkers course I became aware that he had been trained by William Morris. At the time this meant nothing to me, as a name alone is just a name, but by the end of the course I realized that William Morris is probably one of the most innovative and skilled glass workers the world has yet seen. On my departure Randy pulled me aside, and asked me if I would drive up from seattle to help him on weekends. I enthusiastically agreed and the following winter began training with him full time. I was now surrounded by the most skilled and talented  glass sculptors in the world. I quickly became humbled by the amazing creations I was helping breathe life into, and ever grateful to be a part of the team. I would spend the next 5 years of my life as a dedicated artist assistant to Randy. As my skill grew, so did my dedication and discipline. Two years into my service I was noticed by Karen Willenbrink and her husband Jasen Johnsen. Karen offered me a position of great responsibility on her team, which I graciously accepted. This job offer presented a rare opportunity to learn an entirely unique skill set and deeply embedded attention to detail into my aesthetic choices. I gave 3 years of my life to Karen in exchange for an endless barrage of skill sets, challenges, and trade secrets. 

After thousands of hours of practice, and greatly due to Randy, Karen, and Jasen, I have now locked into my memory the staggering amount of information it took for me to freely create the pieces that have been trapped in my hands, mind, and soul. I now feel I can control the material with enough skill and grace to present in reality, the phantasmal experience that had previously been obstructed by lack of technical ability. 

I now consider myself an artist, only due to the 

fact that I have found mortal purpose in attempting to perfect and refine this mysteriously powerful form of expression. I am second a glass worker, as it has proven that immense skill and practice is necessary in order to make manifest in the physicality of my imagination.

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