I may sculpt in salt and put it out in the forest for both weather and animals to add their markings. I may scout for beaver and include their delicate teeth marked twigs in such works as “The Window of Time”. I collect blossoms and slowly preserve them and their colour to be laminated over willow armatures creating large topiary sculptures. I try to close the psychological and physical distance between the art and audience by creating works that include their full sensory experience. I develop installations like “All Fall Down” that have a participatory aspect, inviting viewers out of their passive positions to literally add to the work or by unconsciously performing within an installation; they become part of the kinesis that animate and bring my work to its’ fullest potential. I am interested in the environment as a living journal that embraces a history of its inhabitants, their daily lives and use of the land. The “San Augustine Suite” was my travel diary that documented time, place and culture while I was in San Augustine, Etla, Mexico. The site specific installation “The Window of Time” sits on the edge of Crag Lake in the Yukon, open to the vista of mountains and forest on the other shore. Made of detritus Poplar, it has carved into the lower limbs, the phrase “Gone is Gone”. The Window of Time is an invitation to witness the change in climate, the boreal forest and to contemplate on the choices we make.