My work in clay is clearly focused on interplay between form and texture. I use the empty and virgin vessel as a starting point and then manipulate the surface to enhance or create compelling tension. I have always found a precarious and grotesque beauty in the evolutionary armor that is present in nature (including man).

Often I take the inspiration offered and my forms have an obvious and natural kinship with those in the natural world, the barnacled creatures of the sea, flora and fauna with tentacles, spikes, scabs, weathered and beaten skins, and other armor. The protections that evolve as a result of the overlapping of experiences have developed in my mind as "crusts". In some of my work, these "crusts" appear on an exterior surface. Other work suggests an interior "crust", organ-like forms bloating and blistering beneath a more pristine exterior. When making a vessel, I treat it as a character with its own idiosyncrasies. Some forms have impossibly craning necks and absurdly small openings, suggesting an interior without revealing it.

The obsessive surface treatment in my work is a reflection of the idea that individuals (once empty and perfect as the vessel) pick up scars, tics, stutters, bumps and blemishes that make each one an extraordinary sight on the natural landscape. Some work takes on an industrial air, using tools ,metal bits, or mechanical forms in reference to more contemporary protections or armor. For me clay is natural material for this investigation as it accommodates manipulation and inspires with it response.