During the act of creating, I am intrigued by how my movements will affect the relationship people have with my work. I make alterations while the wheel is spinning, moments prior to removing each piece. I push in and out with my fingers and tools, letting them flow down and back up again. This is how I strive to create organic shapes that are alive and reference human form and movement.
The element of movement dictates the method in which I fire my work. I choose wood and soda kilns because of the directional aspect of the flame and wood ash as it flows through the kiln. The clay I use his highly reactive to this atmosphere. When I load my work into the kiln I imagine this flow in and around every piece. I choose to create forms with undulations or paths with which I can direct the flame to record its movement.