My work is inspired first and foremost by my love for the Earth and I am moved everyday by the infinite ways that beauty finds expression in nature’s varied and diverse forms. My work is a meditation on the underlying interconnectivity at the heart of nature, alive in every being of the Earth. All forms of life are embedded in a matrix of interdependent systems, emerging from and returning to the same womb of creation. The rhythms of the breath, the tide, the seasons, birth to death, the ever-cycling spiral that roots and harmonizes all of nature - this cyclic, generative energy is the great unifier that connects all things in a vast web of interrelationship, from the micro to the macro, all of the parts essential, all of the parts woven together to create a dynamic, fluid whole. I am interested in articulating a symbolic representation of this generative energy in order to reveal the inherent interdependence that connects all living beings. My choice to create abstract work is made with conscious intention to emphasize the animating energy streaming through all of life, regardless of the particular kind of life form. This thread is what links the whole myriad spectrum of material form in all of its diversity and complexity, and it is this woven substratum that I seek to highlight. The repetition of certain motifs, such as the yoni, the spiral and fractal-like patterns, further function to emphasize the generative dynamism and interdependent unfolding of organic processes.
These themes are not only articulated through the visual impact of my finished work, but are also reflected in the process I engage to create each piece. I experience my creative process as an ever-evolving relationship with clay, a communion between me and the elemental material of the Earth, and this reflects the way in which relationship underlies all organic processes. Indeed, a centralizing principle of interdependence is that emergent phenomena are the result of complex, dynamic and multi-dimensional systems of relationships. In much of my work, I begin with a structure that creates the foundation for the evolution of the piece. As I build and add clay, each new layer informs the building of the next. Each new layer is in response to the energy and movement of the previous. I respond to the tactility of the clay just as much as the clay responds to the moment-to-moment flow of my movements and choices. The forms that emerge are the co-creative fruition of this dynamic dialogue.
My ongoing relationship with clay offers me a powerful mirror and asks me to reflect upon my way of relating in the world, calls upon me to be accountable and to make choices in alignment with my love for the Earth. My relationship with clay encourages me to ask myself challenging questions. How might I more fully embody my values in the way that I live? What possibilities might be available for healing the human relationship with the Earth? By rendering a creation of beauty, my intention is to draw viewers in so that they want to look, and in so doing, invite them to address these same questions, questions that can often feel daunting to confront. My hope is that my work evokes in viewers a visceral felt-sense of our connection to a greater whole; a felt-sense that we are not separate from nature, that nature isn’t something out there, but that we are nature. Through recognizing our shared connections, my hope is that viewers are inspired to reflect upon creative ways we might address the current ecological crisis and make changes toward restoring balance in our relationship with the Earth.
While my work with clay represents an immediate, embodied expression of the underlying processes of nature, it simultaneously draws from the taproot of humanity’s ancestral past. Creating ceramic out of the earthen material of clay is one of the earliest known forms of art, stretching back into the distant epoch of the Upper Paleolithic tens of thousands of years ago. Sculpting from clay and then tempering the finished form in the transformative belly of a fire yields a profound metamorphosis, as the molecular make-up of the clay is fundamentally altered into a new substance - ceramic. To ancient peoples, this transformative process must have seemed to hold a powerful kind of magic in which they were active co-participants. Fundamental to such cultures was a worldview in which they perceived themselves to be inextricable extensions of the Earth and Cosmos, and therefore their art can be viewed as a tangible expression of a way of being in harmony with nature. Rooted in this lineage, my work holds a vision for the future of humanity - that reawakening to our inherent interdependence within nature will lead to a profound reorientation and transformation in how we live and relate with all beings.