During my formative years as an undergraduate I was given, like so many students, a historical pot assignment. We were asked to choose an image of a vessel, learn its historical relevance, and translate it back into clay. This pot, which had consumed nearly a year of practice, developed my personal aesthetic sense. A year later I had the opportunity to visit the Freer museum in Washington D.C. Strolling through the basement archives, I discovered the Song Dynasty cup and saucer that I had so admired. It was not until a few years later when I moved to Jingdezhen, that I began to truly understand the subtle and unique qualities it demonstrates. This in-depth study matters both for itself and as a means of establishing a base of knowledge and experience.

Ceramics is a kind of play; a regenerative act ripe with reverence, revealing the human hand's enduring connection to creativity. I view my time making as a private act. Yet those moments serve as a tool to initiate experience and make connections with others in the world. A fired pot negotiates the impasse between individual labor and collective product.

My current body of work is a chronology, an overview and illustrative pause in time... It is a stretching of a moment to explore progression and development. Through ceramics, I am investigating issues of process and provenance, manifested as combinatory objects.