This series of work began by exploring the parts of the body that are adorned and therefore could be viewed--albeit surreal—as objects, such as the mouth (Mouth Brooches) and the eye (Eye Brooches). However, my awareness of music, the organized manipulation of sound, that has paralleled my concentration in visual art throughout my life, has prompted an investigation into the dialogue that exists between the sound that is perceived in one’s imagination and the sound that one hears in reality. Since our sense of hearing is the system through which we interact with external sound, I have undertaken a rhythmic exploration of the ear through chasing and repoussé in silver.

The ear has traditionally been adorned with precious metal, but it is the visualization of an aural experience—sound’s permutation through time, architecture, and internal space—I wish to convey.  By impressing the receptors of sound (the ears) onto fine silver, the ethereal quality of the material is analogous to the elusive nature of external sound and the topography of internal sound. (Echo, Intone, Pitch, Sound without a source and Hypersonic). 

Elizabethan Ruff fashioned from used harp and viol strings—stringed musical instruments popular in the 16^th century-- demonstrates an excursion into alternative materials.  This neckpiece connects sound with the generation of musical pitch waves.

Concluding this series are Ear Piece #1 and Ear Piece #2; formed in 18 karat gold and wearable, these sculptures pertain to adornment but actually interrupt the ear’s perception of sound.