A poetic power manifests itself in silence.  Strength and subtlety intertwine during our encounters with the contemplative. Using these deafeningly subdued experiences, I seek to promote metaphoric and physical relationships with my ceramic vessels, drawings and mixed-media sculptures.

Often the seemingly unimportant events, when reflected upon, become the most meaningful experiences when they conclude and become part of the past.  I choose forms that reference common shapes found in nature, while simultaneously remaining unidentifiable to a specific object, as a way to articulate the connection of our own self to our past experiences.  Both past experiences and natural forms exemplify the “spiritual and non-material value” found in our daily lives; these are precious.1

The seemingly simple nature of these forms requires keen observation of the sensitive and subtle changes within each piece.  Delicate linear edges provide a point of tension in otherwise dependable forms.  With steady rhythmic expansions, the ceramic vessel forms share an openness while referring to a much deeper abyss.  Through graphite drawings and other mixed-media materials, I study these depths from both preliminary and reactive perspectives.  In instances, forms and imagery are literally physically connected to one another and also then, permanently separated from one another, much like how our memories and past experiences exist.

“Inside this clay jug there are canyons and pine mountains,
and the maker of canyons and pine mountains!
All seven oceans are inside, and hundreds of millions of stars.
The acid that tests gold is there, and the one who judges jewels.
And the music from the strings no one touches, and the source of all water.
If you want the truth, I will tell you the truth:
Friend, listen: the God whom I love is inside.”

The Kabir Book: Forty-Four of the Ecstatic Poems of Kabir,
Versions by Robert Bly