When I first began working in clay in 2008 I had no intention of pursuing art or craft. That changed quickly. I was initially and immediately captivated by the ability to produce functional and beautiful traditional objects. Objects that felt as if they had always been there. Indeed it was, in part, the transformative and affirming power of the firing process, which takes the combination of raw material and my influence and decisions and allows the piece to become itself, that then deepened my interest.

As I continue to explore clay through traditional, sometimes utilitarian, as well as more experimental and sculptural methods I remain very aware of, and interested in, the material origins of clay and the transformative and performative influence of fire.

The raku pieces, while inherently not utilitarian, utilize a backbone of traditional pottery technique to showcase, quite blatantly, the effect of the firing process on material transformation.

The sculptures more actively explore physical properties, such as tension and balance, and the way in which they can illicit parallel psychological experiences, particularly as the scale of the work is modulated in relation to human scale.