My ceramic work is rooted in traditional hand-building techniques—slab building, coiling, and solid construction.
When I sculpt, I often lose all sense of time, slipping into a sweet flow state. Although I do the same things over and over, it’s always different. I rotate between different clays—the clay body dictates what it will or will not do, so I enjoy using different variations to see what I can get out of them. The magic moment comes when I start to see the form emerging. Sometimes I see where the hips are first; sometimes it starts with the direction the piece is facing, where I know this is her frontside, and then I build each part up until it's all clear. I work the surfaces, pushing and pulling with my knuckles, tools and found objects, imprinting with lace. To bring them into their final strong form, I often fire the guardians, matriarchs, angels and queens multiple times, adding layers of oxides and glazes until I feel there’s nothing left to change.
Now in my 16th year working in clay, I am still thrilled each time I see the body take shape.
