The techniques of hand-building, extruding and slab construction, let me take advantage of clay's power to capture gesture. I'm intrigued by what happens when clay is rolled, stretched, pressed, incised, inlayed, extruded, bent, cut and put back together.
The pots are not so much about balance and harmony but more about tension. I love what spawns in the friction between what I'd like the material to do and what it would rather do.
The unintended result, often misread as a mistake and so dismissed, is one of the most fertile sources of new ideas. The trick is not to fool with clay's inherent desire to be expressive. It will offer – or impose – its own ideas about new forms and ways to work.
I keep in mind what Constantin Brancusi wrote in 1927:
“Each material has its own life ... we must not try to make materials speak our language, we must go with them to the point where others will understand their language.”