A process of dissecting and immediately reassembling my pots for the lines it creates has become the core of my aesthetic, and the impetus for my work in clay. Deconstruction and reconstruction yields a decoration that is structurally expressed, unifying the interior and exterior, prompting the viewer to contemplate the structure of the objects, as well as the process I used to make them. This method of decoration forms the platform upon which formal, functional and structural decisions interlace. Connections between these decisions are discovered as I make, and become part of the conscious intention of my work. I see each piece as an individually considered object, the outcome of an experiment based on beauty.
I am interested in the process of design and its impact on the overall aesthetic of my work. Decisions based upon ergonomics, process survivability, durability, utility and beauty all contribute to the aesthetic of the work. I do not work toward a final perfectly designed product, but rather, I hope that the solution to one problem will present new problems to be addressed. As an inventor at heart, my work is of and for design as an activity rather than a means to an end.