The sculptures I make come from a mixture of my response to sensory experience in the world, historical and cultural references, and the immediate process of making. Functional, sacred, and decorative objects, architecture and popular design, nature, and the human body all influence the work. Material experimentation leads the way for my decisions in the studio and provides me with a practice that is intuitive and tactile.

The subject of my work may be the physical world, but much of it also evolves from my background and training as a painter. Clay allows for a balance of planning and improvisation yet leaves room for painterly decisions. I approach clay with the same spirit of fluidity as I would a painting. I focus on a painterly surface, thinking about the relationship between a glazed surface and a painted one. I use color and pattern to establish relationships between form and surface, abstraction, and representational reference.

The way that people imbue objects with the power to hold memory, tie the living to the dead, and connect past to present is an idea that influences my work. A common object becomes a sacred vessel, often passed down through generations. Like an altar, an urn, a relic, or holy water, the banal becomes spiritual. The object becomes one of devotion, turned into a votive. This, to me, is a metaphor for the act of making art.