My sculptures and installations address personal narratives and how they are inflected by the technological subconscious of early 21st Century culture. Lately working mainly in ceramics, my pieces emerge from attentive observation of existing forms — organic, or industrially mass-produced — and sometimes as intuitive hybrids of these referents. In my ongoing series A Natural History of Technology, I explore the formal evolution of man-made artifacts, spaces, and experiences as if they were specimens from nature.

In my ceramic sculpture, I tend to make highly controlled, coil-built forms with unglazed, grated-smooth surfaces, poised in precarious balance. But I also enjoy submitting to chance, allowing the vagaries of physics to generate more gestural objects: hanging and tensioning hessian saturated with ‘liquid’ clay, to create billowing volumes; or incorporating organic matter that burns out, leaving surface patterns — cross weave, pine cone “teeth” — that take glaze in unpredictable ways.

Working in other wet-to-dry, liquid-to-solid substances — such as plaster, rubber, wax, spun sugar, egg — I delight in harnessing “the drip” as these materials coagulate under gravity and specific atmospheric conditions.

Zeroing in on nuances of physical behavior, I seek tangible metaphors for the delicate shifts in our psychological experience of the world.