MIRRORS
Each of these mirrors begins as a 6mm thick piece of clear, annealed glass. Through a meticulous chemical process involving a silver nitrate, ammonia, and sugar, a reflective silver layer is deposited onto the surface. Due to the organic nature of this process, the mirrors develop unique variations in texture and appearance, setting them apart from traditional uniformly silvered mirrors. This results in a distinctive, multifaceted reflectivity that enhances their depth and character.
PATTERN - Created by contrasting reflectivity, layers and color
*Reflections in photos are provided to convey a sense of reflectivity and texture. However, these pieces possess a level of detail and beauty that cannot be fully captured in photographs and are best appreciated in person.
GRAPHIC -
Bold graphics of mirror juxtaposed with transparent glass.​
*Shot on a white blanket. The white texture behind the mirror is the texture of the blanket through the transparent glass.
ABSTRACT - Layering silvering creates a painterly effect, blurring the line between a traditional mirror and abstract art.
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CRACKLE - Similar to a veined mirror, this process can give small crackle pattern to large vibrant one.
CRADLE
You might call it a frame, but I see it as a cradle. The mirror is centered within a wooden frame, however, its uniqueness lies in how it is secured. Custom brackets pin the mirror into the base cradle, allowing for a fully unobstructed view from edge to edge, enhancing the sense of depth and continuity.
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MATERIAL- While I typically use Baltic birch plywood for standard pieces, custom cradles can be crafted from nearly any material, including wood, plastic, metal, or composite, to meet specific design requirements.
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COLOR- Stains, paints and colors are all customizable, The interior cradle can contrast the exterior, for visual interest when viewed through the glass.
HARDWARE- Screws, Dowels, Pinning brackets and joinery are also all customizable
ABOUT THE WORK
Mirrors are more than their mere reflections; they offer us a version of ourselves that we can’t see on our own, an interpretation shaped by the glass, the light, and the perspective of another. Yet, these reflections are not absolute truths. They are distortions, subtle reinterpretations, glimpses of self that exist only through the lens of a particular mirror. In this way, mirrors become more than objects; they can be portals to other realities.
​I reject the notion of perfection that mirrors traditionally embody—perfectly uniform, flawlessly reflective, predictably useful. Instead, I embrace the uncontrollable nature of hand silvering, allowing imperfections and textures to emerge organically. These irregularities are not flaws but marks of individuality, transforming each mirror into a singular work of art. The variations in silvering, the subtle shifts in color, and the unexpected textures invite the viewer to see beyond the surface—not just who they are in the present, but who they might become, and what possibilities lie just beyond the reflection.
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​More than just a surface, these mirrors serve as invitations to introspection. They ask us to look beyond the expected, to embrace the unknown, and to discover the beauty in what is imperfect, unpredictable, and profoundly real.