My artistic process begins with observational walks in nature.  During these walks my mind begins to clear, and a shift in thoughts allows free association of creative ideas based on what I observe. I see lines and forms within compositions filled with visual contrasts.  I see objects that are barely supported, yet they exist; in fact, entire systems that without one mere component would fall to the ground.  This visual information informs the sculpture I make and creates a conceptual basis for my work.

     Porcelain has been my predominant material of choice for many years since it is a basic natural material adaptable enough to construct both simple and elaborately complicated forms.  It is malleable and versatile; dramatically recording texture and deliberate marks, while at the same time porcelain is an extremely challenging material.  My current body of work employs porcelain, or a combination of porcelain and a secondary material, such as paper, steel or wood to create large-scale objects or installations that are based on natural forms.  To promote visual contrast in each piece, I typically present organic elements within a matrix of straight lines.

     Conceptually, I use nature as a system that can be manipulated as a means of communication.   I am inspired by the visual fragility and asymmetric balance of natural forms like vines and branches, yet there is a structural (or inner) strength that makes it possible for them to continue to exist, despite diverse conditions.  The conceptual possibilities of this contrast of inner strength and outer fragility engender an emotional response, and I begin to consider the symbolism inherent in what I see, for instance, need for protection, support, value or worth.  I allow myself to apply these visually triggered metaphors to other areas of life, specifically in terms of humanity.