I can’t explain why I make the characters that I do. I find myself to be more of a conduit of sorts. I think about how we, humans, are souls and personalities housed inside of bodies that may not be the most appealing to look at, but are rich with stories and experiences. I want those inner aspects to come through. For the viewer my goal is that these depictions allow them to step into the story to engage with it, even stay with them a while. Figurative forms are a timeless means to discuss various aspects of the human condition. I use a wide variety of characters that are human, animal, or imaginary in form. The pieces are sometimes quirky and humorous. I prefer to have figures of two or more together to create a relational dynamic and visual tension. The story is what I am after. I work much more intentionally these days. I have learned to allow designs to develop at their own pace. I keep several pieces developing at the same time. For each piece I do extensive testing exploring various way to finish the different components still under construction. This involves making all types of strange looking test “tiles”. I may fill one to two kiln loads of just tests before doing a final firing of the finished works. This certainly slows down my time line, but it is a process that is rich and rewarding. It informs, with clarity, how to complete the final piece. It also serves in enabling me to become ever more familiar with complex layering possibilities. My topics are contemporary subjects. For example the series on the pandemic puppies and their aged owners speaks to the many aspects of our human need for social contact despite their faults and short comings. The ability that we have to communicate without words, across cultures and species. The fish-men figures are from my pondering how we can learn to adapt by learning from those who are not like us. These topics are incredibly relevant in todays polarized world. Clay is a satisfying material to work with. The way she often works is an intuitive, reactionary style in the onset. This requires a trusting of self and shutting down the perfectionist and negative chatter. A playful and reactionary approach. In that approach sculpting with clay is like a quiet adventure. Reacting to the developing form and seeing what comes into view. It is filled with surprises. Many of the moquettes are created in this intuitive way and later rebuilt into much larger works.