To touch clay is to remember that matter breathes - that every act of making is the world remaking itself through us. In the slow exchange of breath and motion, sensation gathers attention into the present. What does it mean to build stability from instability - to find rhythm in rupture? How can an artist work with material not as an instrument of control but as a living collaborator that resists, yields, and remembers? Clay is not just a substance, but a thinking partner - a body of earth that moves and transforms in dialogue with my own. Together we trace what it means to live in a body that forgets and relearns coherence.

My practice begins in this pulse - repetition, pressure, breath - an embodied dance that draws me into a meditative trance. In this state, making becomes a form of expression and release, a way for emotion to move through the body and into material. Clay is not passive; it meets me with its own resistance, its own tempo. Together we move, slip, hesitate, and continue. This reciprocal choreography is where my work emerges.

I approach clay, especially porcelain, as a living partner - a body that remembers touch and carries gesture forward. Through weaving, stacking, and coiling, I construct porous architectures that hold both fragility and strength. These sculptural environments evoke a sense of awe and wonderment, inviting viewers to slow down, to feel the subtle shifts of light and space, and to sense the rhythm embedded in the forms. 

Rhythm is not just formal - it is physiological. Living with a form of epilepsy that alters perception, I stabilize myself through movement by matching rhythmic brain activity with rhythmic body movements. Repetition becomes regulation; the cyclical motions of making echo  and instruct the nervous system’s recalibration. The studio becomes a space where coherence returns through motion, and where instability becomes a site of creation rather than collapse.

Alongside my porcelain environments, I create modular installations such as Between Breaths, composed of interconnected wheel-thrown vessels that transform sound and air into vibration. These works extend my interest in collective rhythm - how bodies influence one another through breath, resonance, and proximity.

Across all my work, rhythm functions as language. Movement becomes meaning. Clay becomes the field where emotion, sensation, and environment meet. Through these material dances, I aim to create spaces that hold presence, wonder, and the quiet recognition that matter, like the body, is always in motion.