My sculptures begin with an image. My paintings begin with a gesture. In both, I am interested in what happens when I stop trying to control the outcome and allow the work to reveal what it wants to become.

I sit down with clay and ask it questions, including the most important one: What does this form need right now in order to survive becoming itself? The ceramic sculptures begin with a face, then move away from portraiture into a conversation between material, gesture, and form. Beginning with a ball of earth rather than a drawing or predetermined plan, I build asymmetrical forms that become part mask, part organism, and part architecture.

The work requires sustained, focused attention. While the clay is wet or drying, I lift, turn, and rework each sculpture, balancing dense, weight-bearing volumes with thin ribbons and extensions. At any stage in creation, a piece may sag, fracture, collapse, or fail. Influenced by Antoni Gaudí’s structural imagination, I make irregular forms that feel grown rather than designed—forms shaped by changing conditions of moisture, gravity, touch, time, and fire. I follow the material through these transformations, seeking beauty as well as the point at which the sculpture finds its own balance, vulnerability, resistance, and aliveness.

The paintings begin with less certainty. I make a mark and respond to it; I cover and uncover, add color and remove it, until the painting begins to tell me what it needs. The process becomes a conversation, unfolding through gesture, layering, erasure, and time.

The Art Remains brings ceramic sculpture and painting together through this shared process of becoming. Each work develops through attention, response, risk, and revision. The title points to what persists after making: a fired form, a painted surface, a record of decisions, and an encounter that remains open between the work and its viewer.