My work develops intuitively, in response to persistent desires or impulses.

There is the desire to veil or obscure. Reality appears more seductive and beautiful when it is hard to see clearly. A partially hidden reality is both an acknowledgement of reality's ultimate subjectivity and an enhancement of its desirability.

There is the attraction to perfect geometric forms such as the cube. This impulse is immediately followed by the desire to disrupt the geometry slightly, for example by allowing the cube to slump slightly in firing. Geometry means perfection, which cannot exist in practice. Imperfections paradoxically enhance the beauty of a pure form, which would otherwise be sterile.

I consistently simplify and visually quiet images. As a result, visual phenomena are magnified and intensified. For example, on a sheet of plain white tissue paper, slight variations in a coating of varnish create a subtle richness of color. After contemplating my work, one sees the rest of the world with heightened sensitivity. The lack of verbal and narrative noise also allows an engagement of the imagination.

Another tendency is toward architectonic form. Rectangles and squares are useful in positioning the work midway between three-dimensional (a solidly real cube) and two-dimensional (flat pictorial illusion). Rectangular forms also make reference both to a container such as a jewelry box, and to architecture. A box can be both an ordinary possession and a tiny imaginary room. A flat plane can be both one side of an object and a picture.

All of these possibilities allow each piece to possess both the material and the ephemeral. Each element is precisely balanced against each other element, so that complex and opposing ideas merge into a seemingly simple and unified whole.