Stained glass is most commonly associated with historical religion. I have used that association within my work to represent how various situations, circumstances or periods within my own life have become altars. Bright colours and clarity. Light. Transformative meeting places of ash, rock, shimmer and gold. Of blood and tears, brokenness and transcendence. Sometimes the choice to build an altar is out of joy, sometimes desperation, or deep sadness.

There is a topographical element to my work. Landmark shapes such as mountains or valleys, barriers or well-trodden paths. Considering mountain and rock shapes, abstracting them and referring to them as expressions of strength in humility, patience, and yieldedness. The proximity of blurred lines, heavy strokes, delicate contours, and bold colours infer the myriad of decisions, events, conquests, and failings that make up a life spent on pilgrimage. These works are maps and memories, depictions of markers and signposts, and memoirs of grace, discipline, failure and hope. While there is breath and day and night, there are altars.