Since my childhood in New England, I have found the natural world to be a source of endless wonder. As a boy, I would repeatedly see faces, seemingly alive in clusters of swaying branches or in morphing clouds, believing these extraordinary faces were spirits of the Earth who were revealing themselves to me. Whether it was a propensity for pareidolia or something more, as an adult I consider my found wood faces and forms to be reanimations of my childhood musings. 

Furthermore, I now think of the visages that emerge from my work as being personifications of nature itself, hoping they may evoke humankind's empathy for wildlands in regard to their value and preservation. As society at large moves increasingly further away from nature via technology, I desire for my artworks to remind us of our human roots; emphasizing the importance of our connectivity to nature. 

As a life-long artist, I have habitually been drawn to the motif of faces in my art, as I find that facial expressions, both subtle and overt, have a unique ability to visually bridge the gap between thought and feeling. Since 2001 I have been compulsively scouring the wilderness for materials to reveal these faces of nature, letting the Earth speak silently through the expressions that result from my creative trials.

In my artwork, I consider the process of collecting to be as important as the process of creating. I believe the results of my art are really the results of my life in a grander sense; had I not gone to the places I did for whatever reasons, the pieces of wood I happened to see and collect would probably never be side by side, let alone integrated together in a piece of art. I find it important to consider the unknown histories of each individual piece of wood and feel that they contribute to the power of the finished works.