Bio	My work gives form to the feminine force, where I find myself rooted to the primordial psyche, to the ground of being. I contemplate these primordial roots, not to copy or re-create, and not for aesthetic effects. My aesthetics are in the processes out of which the forms are created, rather than out of the aesthetics of form as a formal or static value. I contemplate the roots because they are still alive and felt within, and can elude the modern awareness. Clay especially seduces my awareness into an inner dynamic not of intellectual categories, but in an unbounded space of play that is outside time. Each form in clay, every image or word, is a sketch of the play of consciousness and an opportunity for consciousness to realize itself, for artist and viewer alike.   If there is a primary motivation for my work, it is to bring the unbounded inner space, the archetypal dimensions of the objective psyche into awareness, integrated into consciousness, enriching consciousness with the processes of the unconscious. My work is concerned with the archetypal feminine, the shakti, bringing that feminine energy, into the physical, into the concrete, into the object, into the body.
I begin my pieces by pinching, coiling, modeling, and throwing. As the clay forms air-dry, I continue to engage in discovering and amplifying the feminine voice inherent in them: I incise, cut, carve, scrape, burnish, and make marks that further reveal animating and symbolic content. I use a range of smoke-firing techniques that blacken and add flashes of color to the surface in unpredictable ways. Firing in this way leaves an open doorway between the piece, and the inspiring and terrifying potential of nature that is not under my control: neither I, nor the piece, nor the person who views the piece, becomes closed off to this experience. The pieces emerge from the firing with an inner consistency and a surface that reflects the mysterious and unbounded space from which they take form.