For approximately 20 years I was almost exclusively occupied with cast bronze sculpture. When no longer functional in the foundry, crucibles possess a quality similar to that of aged ritual pots that have ceased to serve their intended purpose.  I view the crucible as a source of life, a beginning, as well as a vessel for change and metamorphosis.  Within this context, I turned my attention to clay.

The emphasis in the clay pieces was placed on the interior, with levels suggesting not only age, but an accruing, a building of layer upon layer.  Drawn through layers of various degrees of physical and psychological complexity, you are confronted with, and hopefully fascinated by, an almost voyeuristic encounter with non-specific ritual, or physiological or scatological debris.

Strictly speaking, the clay pieces are neither purely sculpture nor pottery, but rather a hybrid, containing aspects of both.
 
The encaustic work was grounded on the same expressive landscape as the clay.  The material allows for a more direct color and form relationship with the human body, externally referencing the chest.  My emphasis, however, is again on the internal.  The visceral internal coloration exhibits a strong physiological sensuality, punctuated with stitches, leading in most cases to more unsettling and raw surfaces.

The translucency of the material allows the viewer a diffused glimpse of the interior encaustic which is in opposition to the distinct forms when viewed from above. The clean, industrial, austere vessel exteriors, with their technological appearance, are contrasted by the corporeal nature of the interiors.  As this plastic has been used in the medical field, the interiors now more clearly reflect notions of body muscles and joints, with surgical implications.