My art practice comes from a lifelong interest in the natural world. The surfaces of lichen-covered fountains, geologic patterns and scientific theories all inform my work. I focus on control and the yielding of control as well as permanence and transience. This uncertainty in both the making and outcome provide layers of meaning to the work. My hands press the materials into forms that are sometimes fragile, sometimes scarred and torn. Works on paper are scrubbed and partially broken down in water and then reformed revealing fissures and creases. Ceramic work is pit-fired and materials are purposefully limited to clay, oxides and a flux. This restraint comes from a process-driven practice and I seek to let the materials form inherent abstractions. It is a conspiratorial and primeval relationship between materiality and concept.