Movement is at the heart of my work.

My work has developed through the circles, cycles and seasons of my own life. When I left South Africa almost thirty years ago, I was grieving the country and life I had left behind. As a new life emerged in the United States, movement began to enter my forms. I saw dancers and ballerinas, and gradually forms began reaching outward, leaning, touching and supporting one another.

Over time, these relationships became part of the visual language of my porcelain. An element may hang freely, lean against another, barely touch, or appear to carry and support another form. They remind me of the people who move through our lives—some briefly, some for a season, and some who carry us when we need them most.

Nature is part of this language, but it is not the whole story. I am interested in the circles, cycles and seasons that connect human experience with the natural world: growth and decline, movement and stillness, separation and connection, vulnerability and renewal. Viewers sometimes recognize flowers, birds, wings or other familiar forms in my work. I prefer to leave those interpretations open, allowing each person to bring something of their own experience to the work.

Porcelain gives me a material language for exploring these ideas. Its strength and fragility coexist. I alter, carve and build upon forms, working with translucency, light and shadow until their beginnings may no longer be obvious. Light becomes part of the finished piece, revealing relationships between interior and exterior, between what is supported and what appears almost unsupported.

The making itself is a process of transformation. Ideas become form, clay becomes porcelain, and fire introduces an element that can be anticipated but never completely controlled. That balance between knowledge and uncertainty continues to challenge me and allows the work to evolve.