Things have an internal equivalent in me; they arouse in me a carnal formula of their presence. Why shouldn’t these correspondences in turn give rise to some tracing rendered visible again, in which the eyes of others could find an underlying motif to sustain their introspection of the world?
Maurice Merleau-Ponty, Eye and Mind
...to make visible how the world touches us
Merleau Ponty, Cezanne’s Doubt
Beautiful and bright it should be on the surface, feathery and evanescent, one color melting into another like the colors on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron. It was to be a thing you could ruffle with your breath; and a thing you could not dislodge with a team of horses.
Virginia Woolf, To the Lighthouse
...When Rodin gave unity to his works by the climaxes of the planes, when he increased elevations and gave greater depths to hollows, he dealt with his sculpture as the atmosphere had dealt with things exposed to it through centuries.
Rainer Maria Rilke, Auguste Rodin
I approach the direct, impressionable mediums of ceramic sculpture and drawing as a means of revealing patterns of my unconscious mind, not in the abstract but as they take root in the body or emerge in dialogue with physical reality. Touch, as architect Juhani Palasmaa observed, is the “unconscious of vision.”
Throughout both my drawings and sculptures form emerges and recedes, undulating as if suspended within a continual process of growth and change. Reflecting my own process of sensing and responding, this pattern is has yielded expressions of natural forms, most pronouncably in sculptures based on clouds. As static, material embodiments of transient, gaseous phenomena, they speak to the desire to physically connect with the perpetually fleeting natural world.