My background is in graphic design, and that training shapes everything I make in glass. I think in terms of composition before content — negative space, color blocking, visual rhythm — and glass gives those principles weight and light they can't have on a page.

Much of my work builds from simple geometric vocabulary: fractured citrus forms, bands of color that read almost like type-setting, shapes in tension or in motion. A piece might start as a study in movement and cadence, or as a reduction of something familiar — a lemon, a lighthouse, a horizon line — down to its essential shapes and color relationships.