My work explores the intersection of mindfulness, material science, and creative practice. I see clay not only as a material but as a mirror: it records our gestures, our discipline, our accidents, and our capacity for reflection. Through sustained interaction with clay, we confront recurring patterns—those found in nature, in mathematics, and in our own lives. These patterns, whether spiral, fractal, or rhythmic, become metaphors for memory, resilience, and transformation.

Early in my career, I was drawn to the structural logic of architecture and mathematics. I employed systems such as the Golden Ratio, Fibonacci sequences, and fractals to build modular ceramic forms that balanced precision and scale. Over time, my practice shifted from being purely cerebral and craft-driven to becoming more holistic, focusing on how art can serve as a catalyst for self-awareness and healing. My 2020 sabbatical, disrupted by the pandemic, became an unexpected pivot point. The resulting body of work, Inversions of Nature, taught me to embrace improvisation and resilience, grounding my practice in the quiet power of recurring patterns and emotional resonance.

In recent projects, such as Self Portrait as Triptych (2025), I layered surface, color, and texture as metaphors for the complexity of life—its cycles of holding on and letting go, its tensions between balance and disruption. These works invite viewers into moments of recognition: a shared human understanding that lives beneath language.

At the same time, my research expands into the science of clay and fire. By working with local raw materials in Thailand, China, and the United States, I investigate how geology shapes artistic voice. Kiln design and firing theory are equally central: I consider the kiln a collaborative partner, “painting with fire” to generate atmospheric surfaces that embody both chance and control.

My studio practice is also a pedagogical practice. I see ceramics as a discipline uniquely positioned to connect across fields, offering “real estate for other mediums and practices.” In the classroom and in workshops, I integrate narrative, sustainability, and wellness, guiding students not only to make objects but to cultivate resilience and empathy.

Ultimately, my work is about creating vessels—literal and metaphorical—for transformation. Each piece, each firing, each collaboration is an invitation to slow down, to reconnect with self and surroundings, and to discover the extraordinary depth that resides in the ordinary patterns of life.