Artists throughout time have been the visual recordkeepers of their cultures, and I am no different. Artists records include a questioning of society as well. My series on figurative language, Metonymy, challenges our facile assumptions about gender and ethnicity. The lifesize terracotta figures are not easily categorized by simple standards.
Working in clay is a connection to other artists through time because the medium is universally found in art history. With the durable nature of ceramics, the work is sure to outlast us. There is an inherent paradox in working with so responsive a material as clay. Traces of touch - fingerprints, knuckle marks - are formed, moment by moment, with relentless fidelity. Such intimate contact of hand and clay remains far beyond the process, beyond even the life of the artist; it becomes a permanent record of impermanence.