她的陶艺作品主要是突出与生活息息相关“实用性“。实用性与我的作品相结合使我的创作经历更加完美和具有挑战性，她不断的挖掘容器的内部容量，形状的实用性以及表面的设计。
 装饰是壶生动地展示并传达其功能的不可缺少的一部分，装饰怎样能够在文化和历史中更好地服务多种目的，这是我所感兴趣的。陶艺的先决条件决定了复杂多彩的视觉影像，它展示了社会的价值，传统和文化结构。我的作品给眼睛一种传统而多彩的装饰，它们用视觉的影像传递着意义。 她还在不断地探求数码文化并且选择了数码图解法，电脑是一个非常丰富且有借鉴意义的再次修改再次创作的来源，它可以将数码与合意的装饰相结合。强调出了装饰的基本原则。这些渗透到自身及公共领域的21世纪普通的计算机科技环境的标志，变成了陶瓷表面重复图案和装饰主旨的组成部分，更进一步强调了色彩。

My pottery engages ‘active use’, a craft concept that defines an intimate connection to daily life. It is the accommodation of a functional pot to heighten a common experience that is both integral and challenging to my practice. I make pots that are positioned to serve and signify, exploring connections of containment (working volume), form (domestic role), and surface (decoration).
 
    Decoration is an integral aspect in its capacity to actively perform and inform. It is a mediator between art and life, utility and beauty. I am interested in how decoration has served multiple purposes in cultures and histories. Its premise supports complex and diverse visual signs that reveal a society’s values, traditions and cultural structures. My work embraces the tradition and plurality of decoration to delight the eye and give meaning through visual signs. In recent work, compelled by a desire to challenge the use of familial ‘nature’ motifs, I am looking to the digital culture. Computer symbols are proving to be a rich and suggestive source to rework, reinterpret and subvert as ornament and decoration, synthesizing the digital with a decorative intent. I choose digital iconography, (i.e. the Mac™ command key icon and circuitry and cursor symbol), as it gives my work a currency that addresses decoration’s basic principles. These common signs of the technological environment of our 21st century society, that permeate both the ‘domestic’ and ‘public’ domains, become compositions of repeating patterns and decorative motifs on the surfaces of my pottery, further heightened with color.