My work begins with a feeling before it becomes a form.

I see each piece fully in my mind before I touch the clay. The process is about bringing that energy into the physical world and letting the material guide how it takes shape. I build loosely at first, allowing rough surfaces, fingerprints, and raw clay to remain visible. As the form develops, the sculpture gradually tightens and becomes more refined.

That shift—from raw to finished—is central to my work. Large areas are left rough and unfinished, honoring the clay in its natural state. The face is where the transformation completes. It’s built slowly through multiple firings and layers of glaze, becoming more precise, more intentional. High-gloss surfaces, gold luster, and saturated color draw the eye and hold the energy of the piece.

I think of each sculpture as a process of becoming rather than something I control from start to finish. I respond to what the clay wants to do, refining without overworking it. The contrast between loose and polished surfaces creates tension and presence—something that’s meant to be felt, not just observed.

Clay records every decision. Every mark stays. My work is about honoring that process and creating pieces that carry both strength and vulnerability, presence and power.