"I celebrate and grieve the similarities I share with my figurative sculptures; they are self- examinations. As I construct my ceramic forms, I analyze transitions and changes in my life. I represent myself through clay because I respond to its contrasting abilities to be fleshy yet rigid, geometric yet organic, and simultaneously strong yet fragile - all qualities identifiable and contradictory in human form and spirit. Physically, I may not change much from day to day, but my body is only an exterior mask for my emotions. Shedding the mask, I make myself inversely so that the ceramic exterior reflects my internal state; the fragmented bodily forms are hollow with openings, slits, and cracks revealing interior cavities. Since the initial act of change is unstable and awkward, I feel vulnerable.
My vulnerabilities can be protected or supported by an exterior structure; some thing that is not me, not clay. I build wood, fabric, or metal structures to cradle, push up, or envelop my figures, emphasizing the tension between support and form. I choose wood for its brittleness and strength, metal for its linear, flexible, weight-enduring ability, and fabric for its conforming and expansive protection.
The relationship between exterior structure and ceramic, or my support and myself, becomes a crucial element to the final work and installation; one exists for the other."
This statement is a continual work in progress. After today, I already feel it needs tweaking!
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