In Artic Kelp, I envision a sea of white kelp suspended in the surreal greenish water with light penetrating through the polar ice cap. Bringing plant life to an environs usually void of all flora. But white kelp, is it edible or just a frozen relic from a warmer clime?

A background in archeology has shaped my world view, bringing a sense of universality, cultural diversity, and timelessness to
my pieces. I try to invoke a gut response from the viewer; something that comes from deep inside the primitive part of the brain, rather than a refined, analytical assessment.

Interested in movement and energy, I work quickly folding the clay to bring a rounded, fullness to the forms and a sense of life,
movement, and spontaneity to the sculpture. The clay body influences the final form as much as my own ideas—light and
airy with porcelain; substance with heavy grog. Using simple tools—bamboo skewers, meat cleavers, sticks, or any
found object—texture becomes more than just a surface technique; it changes the shape and feel of the entire
piece.

Hanging sculpture from the ceiling, immediately gives a piece a different perspective and a feeling of
fluidity. In my ground-based sculptures, individual pieces do not fit precisely into each other; askew
and overlapping they feel off balance, as if in movement, capturing the vitality of life.

Seldom is my sculpture one piece standing alone, whether figurative or abstract, focus is on
the assemblage. Each piece, unique, can stand alone, but is only complete as part
of the larger whole.