In recent years, I have been experimenting with new applications for the ancient technique of inlay, in which precious materials are set into depressions in a surface.  This technique is commonly seen in wood, stone, bone, shell, and metal - but rarely in glass.  I first began researching this method within architecture during my 2015 travels in India and the Arabian Peninsula.  I’m particularly interested in this technique due to its notable use in sites of worship and religious architecture of Islam, Christianity, and Hinduism.

I believe that applying the material of glass to this technique offers endless possibilities that have the potential to impact contemporary glassmaking while also reviving an age-old skilled craft existing across many diverse cultures.  The act of two distinct materials merging together and seamlessly becoming one is a meaningful, evocative gesture to me - a gesture which I find to have great symbolic significance.