I build sculptural drawings using extruded forms that work much like lines in a drawing or brushstrokes on paper. Focusing on line and form, many of my works are assembled only after their component pieces are fired. Whether spiral coils, thin rods or delicate ribbons, these forms echo the movement and playfulness of much less fragile materials. I find the tension that the clay gives these forms exciting.

In addition to the material's potential fragility, there is also the reality that each time I install a piece, it is different. Much of my work is assembled on site and when it is moved, it is dismantled and reinstalled. This being the case, no piece is ever exactly the same as it once was. For me, this mutability is a fascinating and important aspect of the work. Each time I install a piece I must pay attention to its environment and take into consideration how it will inhabit the world around it. Whether it is taking advantage of an architectural element or reacting to the way that shadows play upon the piece, it is important to realize that it will only exist as it is in the present.