My work is an expression of that profoundly deep connection between humans and the natural world. Our bodies are composed of the elements of earth –clay (that primordial ooze) is the source of all life. I use organic imagery and life cycles in nature as symbols of psychological and spiritual growth and transformation.
Ceramic art is a potent metaphor. The process of digging up raw materials from the earth, forming shapes, firing to a molten volcanic-like state is a ritualistic re-enactment of the original formation of the earth. The process is mythic, epic.
Layers and edges signify both technique and content. Layers imply depth of meaning, subtlety, multiple interpretations, chancing upon the hidden which allows new insights. Dynamic edges are where growth takes place, not in the safe and protected middle ground.
The forms are timeless, mystical. The work could have been made yesterday or two thousand years ago.
I pay homage to everyone who has crafted vessels of clay. I am committed to clay and the heritage of craft, even though my work is not traditional pottery. By participating in the process, I am connected to all cultures throughout human history. Since ceramics has historically been the realm of women, I feel a deep connection to our craft. Clay is ubiquitous and familiar It is capable of direct communication between creator and viewer. Wherever I work, I incorporate local clays and plants into my pieces, to given them an identity of place.
I am currently a studio artist, director of the UN Program of Women’s Caucus for Art, and a representative to the United Nations, where I facilitate art events relating to social and environmental activism.