For as long as I can remember I have had a love for geometric forms, and in particular, I've been interested in the geometry in which most natural structures base themselves on, such as plants, animals, and minerals.  It seems the universe is hypersymmetric and the smallest of scales, and as it moves up in scale, the compilation of those symmetric geometries seem to relax a bit, but maintain important baseline symmetries such as radial symmetry in flower petals and lateral symmetry that splits us into two halves. While I find the fractalization of symmetries across multiple scales interesting, I've found that the geometry I like most can be found in the microscopic plankton, pollen, and single-celled organisms to be the most striking.  At those scales, there's not much plankton or pollen can do to efficiently get around their environment, and literally, the best way to get around is a gust of air or a heavy ocean current.  What's important to those creatures is that they have a geometric design that places them above less successfully designed organisms. 

What I like about biological geometry, too, is that with any given example of an organism, there are vulnerabilities.  These vulnerabilities lie in their basic design, but they also come from the process of life and death, the carrying on of genetic code that sometimes expresses itself in the best of ways, and sometimes not.  The culmination of various expressions of the same design leads me in my own sculpting.  To have an ideal in mind, but to give it enough vulnerability to feel natural and special. 

The name is inspired by the Mobius strip, which is a flat strip in the shape of a loop with a 180-degree twist in it.  It may sound boring, but check out MC Escher's Moebius Strip II to see why these are potentially interesting.  These pieces are an attempt to vaguely mimic that pattern in a way that is also eye-catching and unique.  I can make these to any size really, but the maximum for the kilns that I fire in is 23 inches. 

So I actually have a hard time defining what these little trinkets are.  Originally, they started out as small-scale sculptures to practice certain forms before I made larger versions.  But I got carried away with working at the small scale and actually started to develop certain forms that work only work well on a small scale.  Since most of them have holes in them, they work really well on a string, I've made a few necklaces for people using these as pendants and accent beads on leather strips.  They also make good additions to small sand gardens and bonsai. 

I've always been interested in geology, ever since I was a kid.  I used to spend hours looking through an illustrated geology guide being amazed that there were all these amazing treasures buried under my feet.  Needless to say, I spent a lot of time rock collecting agates and other interesting rocks, and while I don't pursue the hobby like I used to when I was closer to the ground, my fascination can't help but show up in my work. 

While a lot of inspiration comes from crystal structures already pronounced in nature, I'm also inspired by scholar stones and the subtly pleasurable aesthetic that they have.  

I've been doing pottery for the better part of a decade now, and in that time there have been many influences on my work. Most fundamentally would be the culture of backwoods Minnesota ceramics that has been heavily inspired by the Japanese traditions of wabi-sabi passed down from Shoji Hamada to Bernard Leech, who later took Warren McKenzie as an apprentice. Warren taught that style to many students learning at the University of Minnesota in Minneapolis for over a decade and inspired a host of potters who ended up being my teachers throughout the years. 

While this is the basis of my pottery aesthetic, I'm adding new contemporary angles to the things I am making, as well as fusing aesthetic traditions from different cultures as well.  I don't think I do anthing entirely unique in pottery, as it is our oldest artform and there are dwindling areas of profound change within the craft. However, I will put forth that my intentions are to go beyond what has been done and create something that is entirely unique 

I'm a lover of technology, so nothing makes me more excited than being able to take my love of doodling to the next level with the help of digital tools. At the moment I've only scratched the surface of these types of tool's capabilities, with much of the drawings being freehand using symmetry tools. I'm very much interested in exploring positive and negative space and creating visually intense displays that are inspired by my experience having seizures. 

These are some projects that I drafted using SolidWorks when I was in college. Worked on GD&T, creating custom layouts, assemblies, and complex views. All parts were created in the 3D space by me before being put into E-Drawings, the SolidWorks drafting suite.