I am drawn to working in ceramic clay because of its inherently ambiguous nature. It is extremely flexible at the start, and dangerously brittle just before firing. Coming from the earth, it has a solid reality, but when worked it can become intensely spiritual. The clay is ready to assume many shapes, textures and meanings.
As a linguist, I am fascinated by language. How difficult it is to express thoughts and events through words, and how easily those words slip from context and acquire ritual meaning far beyond their syllables. And frequently texts are partially effaced to make room for new words, just as our beliefs and passions change shape to accommodate the new.
With words from Hippocrates, Sophocles, the Old Testament and the New; with symbols from Assyria and Sheba, ancient America and modern robotics, these sculptures are meant to evoke lost worlds, hidden meanings and the eternal truths of ritual.