Clay records everything that you do to it: every push, pull, squeeze, and poke. I exploit this intrinsic ability to record every physical action. I employ the combination of bright colors and the inherent uncertainty of the wood and soda firing process to create my forms and surfaces. Whether the works are sculptural or functional, they continually have an association with the human form. The implication of the human form comes from the gesture created through quick slashes, splashes, runs, and drips. Reflecting my time with the work, forever tying my memories to that specific time and place. My surface decorations are inspired by abstract expressionism. The implied gesture, movement, and boldness that abstract expressionism has achieved exhilarates me. Through the use of line and color, I am inspired to create bold and gestural surfaces in my work. I try to achieve these types of surfaces by marking the work using pencils, sticks, brushes, bright colors, and the free flowing nature of glazes. The use of various firing methods leads to exciting and interesting possibilities. Each piece requires a different process: from cleaner surfaces of an electric firing, to wild more dramatic surfaces of atmospheric high firing. The use of soda, salt, or wood firing allows the kiln to paint the work and give more variation in the surface. The nature of clay and its historical context is the strength that lies with working in clay. Every interaction, during every stage, through research to firing, I am enamored with clay and its possibilities. Continuing to drive me to explore and create.