I remember vividly the first time I stomped through a perfectly formed sheet of ice, obliterating its crystalline structure. Sadness and exaltation bubbled within me simultaneously as I stood, ankle deep, in freezing water and watched the thin remnants disappear below. I had crossed a line, a mobile and intangible line.
That fine line that exists between the desire to preserve and the need to re-imagine, re-configure and re-contextualize is still a driving force in my studio practice. The daily interplay between past and present, imagination and memory, and our physical and intellectual relationship to landscape serve as reference points for my dreams.
My work is based in my need to better understand sense of place and the evocative possibilities of interpretation in an increasingly unstable world. I see each sculpture as a way to advocate for a direct and tactile relationship with the world. Clay serves as palimpsest in my practice; I seek its inherent variations in surface and texture, its ability to mimic, to be thick, thin, ephemeral or permanent and to exploit its own relationship to time and transformation. The physical recordings that come through rolling, tearing, squishing, dipping, pushing, pinching and scratching become representations of touch, of thought, of time spent.