I make colorful ceramic sculptures that use abstract architectural and organic forms. My work is meant to be felt in the body like a rush of energy. Through loose, improvisational handling of materials, I create playful work that results in idiosyncratic structures. Symbols and patterns I use represent physical entities such as buildings, bodies, and land. The inner and outer worlds I experience collide in the work. Color joyfully erupts, lighting up the eyes and the mind. I think about John Ruskin, who so loved grass as a child, he wanted to eat it. He channeled that need into detailed drawings. I, too, am overwhelmed by a need to consume the world and process this through making. Color and shapes often have a taste, touch, or bodily feeling associated with them in my mind; the creation of the work is a full sensory experience.
A thread that has run through multiple projects concerns the way that people imbue objects with the power to hold memory, tie the living to the dead, and connect past to present. A common object becomes a sacred vessel, often passed down through generations. The object becomes one of devotion, turned into a votive. This, to me, is a metaphor for the act of making art.