Abstract
In my sculptures, I use the language of abstraction to explore the construction of identity as a fluid structure constantly evolving, constituted of experience, gender, race,language, environment and geography. I conceive selfhood as sinew, a cultural connecting tissue engulfed by experience of place and time and encased by the skin of memory. In the sculptures, glaze takes the place of flesh and blood, activating the piece by which the ceramic process becomes a sentient activity. This entity of energy and synthesis contracts and expands, breaths, moves and gestures; sometimes with a force so vivid that it bursts out, ripping through the ceramic skin. Like an archeologist of the experience, I cut into them, and I begin to understand the transformations within-the defined but most importantly, the undefined.