Some paths unfold quietly—until one day we realize we’ve been walking toward them all along.

Before I ever touched metal, I studied biology—drawn to the intricate structures of the natural world.

Later, while raising my children, I felt a pull toward making something with my hands. When I found metalsmithing, it felt less like a discovery and more like a remembering.

A place where focus, intuition, and quiet devotion

can live together.

I work using traditional metalsmithing techniques, including chasing and repoussé, hand engraving, and stone setting. These methods ask for humility and stillness. They taught me how to listen to the metal, trust the process, and let the work unfold in its own time.

The work asks for stillness—and always gives something in return.

My training has been shaped by time with master craftsmen—including Peter Keep (Jewelry Training Solutions), Liza Nechamkin, Davide Bigazzi, and goldsmiths in Florence—as well as advanced study in diamond setting and microsetting with Ian Bernard.

These foundations continue to guide my work at the bench, each leaving an imprint—a gesture, a rhythm, a way of seeing—that now lives quietly in my pieces.

My work begins in small, ordinary moments—patterns in nature, quiet movement, shifting light.

Each piece shaped slowly by hand, guided by attention and care. Designed to be lived in, cherished for a lifetime.

I’m grateful to share this work with those who feel a connection to it—
pieces to be worn, lived with, and returned to over time.