Technique 

I am a hand-builder. This means I construct all my works without the use of a potter's wheel. My reason for this is a desire to co-create with the clay, rather than forcing it in a predetermined direction. Clay possesses agency, memory, and personality, varying with each type used. Getting to know the specific character of the clay is a central part of my process; my closest colleagues are red- and white-speckled stoneware.

I hold an ideal of the ceramicist using only their own fingers as tools. Just me and the clay. Preferably out in nature—that would be my ultimate workspace. However, I generally utilize sponges, wooden modeling tools, knives, and kidneys. Nevertheless, I keep my use of tools to a minimum.

...

My amphoras are (self-) portraits. Through a methodology characterized by 'autoscopy' – the act of looking down upon one's own form – I document how trauma embeds itself in the skin like a visible geology. I seek that which is uncomfortable and true: skin that ruptures, clay that cracks, and forms that bear the mark of being shaped under pressure. As part of the process, I subject the clay to pressure by firing it with the cracks that emerge during drying. I work with the fissures, making no attempt to conceal the injuries that arise during the process.