Body adornment is a private affair steeped in memory, relationships and connections to the outside world; it holds an unequivocal place as a personal statement. Once worn, it is an outward expression of our internal state. I find I travel my own internal journey in creating it. I find traces of my childhood appearing in my preoccupation with the aesthetic expressions of tribal designs from the mountains, deserts to the delta of the Indian sub-continent; along with modern influences from Louis Kahn’s National Assembly building in Bangladesh. Early memories, for me, have always resided within the tension of tribal and modern.
Architecture satisfied my passion for analyzing the process of design and space. I am intrigued by the discovery of three-dimensional design through physical movement. I see my work as a miniature form of that design experience. Living and studying the Southwestern Native American architecture I find my aesthetics have come full circle, an amalgam of tribal and modern crossing international boundaries.
My work tries to transform the static solidity of metal into liquid grace, to entice the wearer/viewer into an intimate spatial dialogue. A contemporary wearable art that breaks away from static notions of adornment while evoking the essence of tribal design through simple forms. Despite my internal processes, the overall effect is to create a hint of whimsy within the critically composed piece of art.