As much as I embrace convention in art, and I certainly do, my Fusion Frame art fulfills the part of me that says “no” to convention. That it is not only okay to be avant-garde, it is right. I like to embrace alternatives to an accepted order in art. To even, at times, completely ignore conventions when fashioning a piece and enjoy the unbounded ability to create by refusing to be limited by precept.

I enjoy seeking out unique frames, wherever they may be. And, I love being outdoors reclaiming extraordinary tree branches and roots. Especially when most of the time it involves spending a day or two in the forests of Central Oregon, but other wonderful places, too. It is a challenge to match a frame and branch. Finding a faultless marriage is rewarding in and of itself. Then, each project involves woodworking, sculpting and painting; which I also enjoy. I find it meaningful to commit the time required to merge a man-made as well as natural element into an artwork that captures imagination. Tailoring a Fusion Frame with a sentimental object for someone is even more rewarding — it captures life!

I have been making Fusion Frame art since 2011. I am passionate about Fusion Frames and passing them on to others, so that they can enjoy them as much as I do. My passion drives me to never accept limits on the possibilities.

With so much individuality and capacity in being human, do we really require thousands, if not millions, of replicates of everything? Is it not okay, sometimes, to have one of something? To appreciate it privately? It is not that derivatives are inherently wrong, as they, of course, have their worth. However, it dilutes the good and meaning of, one of kind, to me.

Owners of Fusion Frames have shared how personal and meaningful they consider their artwork. Fusion Frames are exceptionally distinctive. Each encompasses a genuine piece of reclaimed wood and an existent picture frame, both with their own history and nuances. When fused together they become one, with a fresh beginning. The same piece influences people differently, as is the case with all art. However, when it comes to visual art that unites the organic, I believe only the original can bring about the most far-reaching impression. I do not want to temper the experience by offering reproductions. Moreover, I want to preserve and protect the undivided impact for the individual that has a special right – the procurer.

I devote incredible hours to my Fusion Frames. I make 25-30 artworks per year – dictated by the time requirements of each Fusion Frame. For I independently seek out each element, frame and branch. I, alone, design, build and enhance every piece. I even crate the artwork, with a bit of help, which is a time intensive undertaking, to ensure every Fusion Frame reaches its new owner unscathed.

I recognize my appreciation for one of kind art, created by one set of hands, limits my ability to complete a significant number of artworks per year. However, it enables me to create one of kind pieces, in the truest sense, by which I am inspired. It is worthwhile to me. More importantly, it is meaningful to my patrons. If not an absolute requirement.

I use many different woods. Central Oregon manzanita, juniper, aspen, Willamette Valley filbert and California grapevine are a few of my favorites. Using frames of all types and from time periods spanning well over one hundred years make Fusion Frames even more interesting. If used, leather, iron, brass, bronze and glass all retain the personality of their heritage. I apply paints and stains to add individuality, and also make use of bonding & sculpting agents.

The blending of these basics creates a distinct piece of art. It is meaningful and different. When finished, each exhibits characteristics of its parts, in a singular, harmonized style. Each shows individual histories, as well as a combined story as one. Each is a chronicle, complete with scars and adornment. 

I grew up in California, with a dad that was a carpenter each day; and, a husband, father, yard artist, fisherman and hunter when he was not “being a carpenter. “My dad let me tag along, everywhere, and helped me to learn and grow. He died when I was eleven, but not before sharing his love of carpentry, the outdoors, art, soccer, and most certainly — family. Mom, always has been and is today a non-stop “think-out-of-the-box” artiste. She recognizes the good, the worth, in everyone and everything. I learned much from both; and their attention certainly nurtured my appreciation of art.

As a teenager and young adult, I lived life with family and friends, many new, in the Willamette Valley. I enjoyed soccer, school, friends, family, being outdoors (especially fishing) and definitely distinctive art. I really liked “dead” trees – imagine that. How may they be re-purposed, was that a cognizant thought back then? I was also drawn to frames, especially antique frames with their unique character and history.

I relocated to the East Coast for a spell, only to return to the Willamette Valley for my college years, attending Western Oregon University and receiving an Art Major.

Now, I have been in spectacular Central Oregon for many years, enjoying every moment. I have a great job and appreciate my co-workers, friends and family.

I have always valued art and its ability to evoke emotion and action. The diverse human imagination, opinion and deed evidenced in art, simply captivates me. It is ever evolving and multifaceted. Art reflects people, and how they think, feel and behave. It is an uncluttered record. I respect it.

I appreciate practically all art genres and styles. However, I enjoy surrealism most. I particularly like the element of unlikely juxtapositions – how the surreal merges the otherwise unrelated into a singular work. I find it intriguing. The dissimilar do belong together, but only in a singular occasion. I see this every time I work on a Fusion Frame, which is almost every day.