"To me, waste is just lack of imagination. This belief carries beyond the boundaries of my art production and permeates most aspects of my life. Most of my home and studio, and much of everything in them, is recycled. I’ve always had an epic imagination along with a driving desire to make things. Thus, used objects have pared my options down to a workable, manageable level. No object is beyond artistic merit, meaning and metaphor. So why throw it out? The materials of my work are connected intrinsically to my ideas, be they tailored beyond recognition or left as found. Each piece I make resurrects an object as an idea specific to the material and the meaning inherent in its use. The history of the object — from the manufacture to the dumpster — embellishes its contexts and the possibilities I have to manipulate them. I have often made a connection with the objects that I’ve used in my everyday life or work experience: that which I know."
"The Chainsaw Mask series came about as a result of my connection to Pegasus Gallery on Salt Spring Island – a place I call home. The gallery has a vast collection of indigenous art and artifacts, and I was struck by how similar the shape of a Raven mask was to my chainsaw. As the first chainsaw "shape-shifted" into a metal mask in my studio, the play on ravens as "tricksters" and "gluttons" became obvious. The fate of "clear-cut forests" and "clear-cut cultures" literally seemed to hang in the raven’s beak. I’ve included objects in the work that has transformed landscape, such as the chainsaw, machete, and various saws and blades and, as well, objects that speak symbolically to the loss of culture, history and technology as in the use of typewriter keys for feathers in ‘Ravenous’."