The search to find a balance between the decorated surface and the pot's form is a puzzle, with an elusive solution, that sustains my interest. I'm prompted to design the surface spontaneously; to map my experiences and draw from my inspirations. My work forms a bridge between two-dimensional media and the sculptural aspects of pots. An etched line, a calligraphic brushstroke and the movement and pattern of a written language influence the surface. Growth and motion are represented by universal images of birds and plants.
Balancing tradition with a contemporary approach is crucial to me. My choice of material and forms are fairly traditional, so that I remain part of clays long heritage. The way I touch clay references 400-year-old Japanese teaware, yet in my drawing I reference cartoons and Western childrens literature. My glazing is also contemporary, using asymmetrical compositions to help create narratives. I regard color as a physical manifestation of emotion and thought. A sprinkle of pink glaze dots may indicate elation, or one green dot may be shorthand for a traffic signal giving the signal to move forward.