The world we inhabit fluctuates between moments of chaos，brute hostility and profound examples of care and beauty. Our efforts center on the preservation and protection of what we cherish and value. The implications of our efforts often escape our grasp and intentions, it is for this reason, that as an artist I am interested in how we choose to handle and engage the world we create and are given.
Clay provides an opportunity to explore these relationships, both in the creative process and in terms of the final product. In any given event, clay can simultaneously be about both human intention and natural occurrence. It is a material through which we can understand the full spectrum of human history: both, creation, destruction and eventual decay. Metaphorically or literally, it serves to ground us, as well as record nearly every aspect of our existence.
I tend to look for meaning and truth in residue and rubble of our daily world, rather than in the pursuit of our ideals. It is there that I see the need for coaxing beauty out of ugliness, and the choice for finding grace amidst vulnerability and uncertainty.
我们居住的世界是起伏在不安，粗鲁与关心，美丽间。我们的努力集中在保护及保留我们认为有价值及值得我们开心的事。但是我们常常力不及逮，因此，作为一个艺术家，我特别想知道如何能为我们的世界作些什么。
陶艺为此提供了一个探讨的机会，这不但从陶艺的创作过程里或是从最终的作品里。在任何情形下，陶土是人类需要的也是自然存在的，它是一种材料，我们可以从它了解人类的历史，它的产生，创作，毁灭以及消失。它埋葬我们，同时又记录我们存在的每个细节。
我常试在我们的日常生活的残余里寻找意义及真理，而不是展现我们的想法。从那里我看到如何从丑美里并存美，以及在不安及不肯定中如何选择寻找庄重。 |
