My work explores the boundaries within clay through experimental processes.
I start with the industrial method of plaster moulds and slip-casting; however, I don't
always use these in traditional ways. With my current project Lines, I use metal as an
aesthetic reference and material contrast. An additive method is used to create
pieces with minimal amounts of clay. This body of work became an engaging display
of how clay moves in the kiln. The suggestions of vessels start out as straight cages
of wet clay and through the power of the kilns heat and the pyroplasticity of the
clay, they move like fabric to evolve into a wire-like sculpture that still holds the
materiality of porcelain. Due to this process, the final form of each piece stems from
minute details in the making, but mostly depends on chance.