My current path in clay has led me to explore sculptural concerns within a vessel format, with form always as the unifying factor. This resulting interplay often leads me to question my own criteria for evaluating known objects. By intuitively responding to the active or quiet suggestions developing within each work, I am able to establish a dialogue that often continues beyond its physical completion. This holds true through out the next stage in
its evolution, the firing process. The metamorphosis that clay undergoes within the kiln seems most heightened by an extended sense of both physical and intuitive involvement. For me, fired work possesses a ritual quality as the sounds, smells, and feel of the kiln take hold. I become absorbed in a dance of primal flame that gives energy and imparts life to the pieces within the womb of the kiln.