Storytelling holds universal appeal, and my journey reflects the path of many artisans who find inspiration in both creativity and reverence for past craftsmanship. From an early age, I exhibited a keen interest in building—whether through Meccano sets or sandcastles—consistently driven by new projects and imaginative pursuits. This enthusiasm has not waned; rather, it has grown more profound over time. I carefully create my current pieces, frequently incorporating philosophical ideas into their subject matter and imagery.
Glass has long featured prominently in my artistic practice. It uniquely transforms light and possesses a distinctive presence compared to other materials, marked by both its permeability and fragility. Throughout history, glass has been employed in various artistic forms. My passion now extends to integrating diverse materials and, more recently, combining contemporary elements with antiquities—a pursuit that continues to inspire me.
My collecting habits have deepened my appreciation of our shared history. Visiting museums, studying natural sciences, and exploring the tradition of Cabinets of Curiosity have contributed to an eclectic and expansive personal collection. These experiences have fostered a sense of nostalgia towards history and enriched my understanding of art across various times and cultures.
Occasionally, my work involves something as straightforward as crafting a new glass base for a sculpture or engaging in restoration projects that preserve the artwork’s integrity. In other instances, I reimagine existing pieces, incorporating my own elements while respecting the original form. As a professional engineer specializing in material science, mixed media aligns naturally with my expertise. The variety of materials—minerals and precious stones among them—continues to expand my cabinet of curiosity.
The process of creating while learning is inherently rewarding, and pursuing meaningful statements through my work adds further value. The Jesus Project represents an evolution in my artistic journey. It began with my admiration for religious sites encountered during extensive travels, followed by a growing collection of religious icons and objects historically valued in places of worship. A large number of these artifacts make up important parts of museum collections, including those at the Detroit Institute of Arts and other museums across the country. My reinterpretation integrates these forms into new works, culminating in what I call the Jesus Project.
Although raised in Catholicism, I have approached faith with skepticism and now identify as an atheist. Nonetheless, I recognize the allure of belief in a benevolent deity, particularly one capable of alleviating global suffering. During my travels in Peru and South America, I was deeply affected by witnessing the stark difference between the power and wealth of religious institutions and the struggles faced by the communities around them.
These observations prompt reflection on the enduring power of belief systems, even in the absence of empirical evidence, and how faith continues to motivate generosity today. The Jesus Project explores these themes: Jesus as a foundational figure in Christianity and American culture, and the interplay of perception and belief. At the start of my career, I produced pieces that explored how perception shapes our experience—what we believe to be real becomes reality for each individual. Numerous artifacts within my collection originate from eras preceding the advent of Christianity, providing a direct link to societies whose values differed markedly yet shared core human pursuits, such as sustenance, security, kinship, economic activity, affection, and creative endeavour. While belief systems evolve, our essential humanity remains constant.
I make no prescriptive claims regarding individual faith. Belief is intrinsically personal, and contemplation alone can be meaningful. Through the Jesus Project, I present religious icons in reimagined contexts—combining glass, minerals, and skull motifs—to offer viewers new perspectives. Notably, while most representations depict a white Jesus, I am developing works featuring Black figures, underscoring the universality of suffering across identities.
