My ideas have evolved through a practice of observing and collecting specimens of nature and leftovers of industrial waste. I shape a visual language from these findings.
In the studio I usually have six or more sculptures going at once, jumping from one to another to stay loose. Paper clay techniques allow me to attach wet clay to fired clay and build an array of specimens. I join disparate parts together creating an interplay between the organic and the mechanical, marrying them to produce unexpected imagery. The work emerges from this dialogue of building and demotion, a dynamic unfolding of birth, decay and regeneration. In the end I want viewers to sense rawness, surprise and even humor.