My subject matter is loosely based on micro-organic, zoomorphic forms which are inspired by nature and sometimes more specifically derived from the micro-organisms, bacteria, viruses and parasites that can be found in the body. Having personally combated a series of illnesses, I take an intimate interest in the body and what enters it. My work does not conform to status quo notions of beauty. It is the strange and the grotesque, and the beauty found in these that interests me. To be both attracted and repelled by something is a much stronger, deeper response than to be simply attracted to it. Often, fine craft in general, and glass in particular, suffers from an obsession with technical achievement whose resulting awesome effect can be undercut by an absence of purpose. Technique can start with play, as many of my own techniques have, but a single-minded quest for technical achievement can also stifle the creator’s ability to access her inner playfulness. I strive to make technique serve the ends of a profound and stimulating engagement with the viewer, in such a way that she is shocked—or coaxed--out of her preconceived notions of what fine craft can be. I also aim to touch my viewer in that primordial, enigmatic, inexplicable way that renders my techniques invisible and unimportant to her. I am committed to the collaborative experience with my materials and with my viewer. To slow her down, to capture her for some time, and to have her walk away feeling a certain kind of resonance with what she just experienced: these are the goals of my artistic practice.