在我平日的创作中，我会通过对作品进行塑造来表达我对于障碍或者是对一些应该感谢的经历的理解。这些经历超越了我正常的理解范围。我最近的作品主题命名为“熟悉”。尽管不是能够明确地确认，但是在作品的内部等级中，这些作品的造型是非常熟悉的。基本上通过对作品具体功能的分析，我们可以知道它的隐含意义。对于熟悉的理解在许多方面都是不断变化的因为他们的形状违背了里外，前后，上下等方向概念。他们位置的变化使他们的意义有了更多的解释。依赖于位置的变化，熟悉能够反映具有实用价值的器皿造型。如果抛在空中，还能够显示表明结构，目的和位置的强烈的建筑元素。如果翻过来，还可以显示内部空间的小缝隙。这种内部空间暗示心理因素。在最简单的参考方式中，通过运用颜色，形状和图案元素，我希望作品熟悉能够自然地引起参观者自己的工作经历。这种经历会和作品的材料，功能及作品所体现的社会习俗同时出现。我相信工艺作品的自然性。
     Within my daily reconciliations I can shape my perceptions to either block or allow acknowledgments of some experiences that are beyond my normal understanding. My latest body of work is titled  ‘Familiars’ and although not readily identifiable, these sculptural forms are familiar in their domestic scale and almost recognizable in their implication to a vaguely specific function. The perception of the Familiars can vary in many ways since their shapes defy the conventions of in, out, front, back, up, and down and allow their positioning to invite various interpretations of their meaning. Depending on the positioning, a Familiar may reflect a vessel form with its associations with utilitarian function, if flipped around may introduce strong architectural elements signifying structure, purpose, and situation, or if turned over to reveal a small opening to an inner space may hint at a psychological component. By using the elements of colour, shape and pattern in the least referential way I’m hoping that the Familiars will naturally engage the viewer in their own experience of the work. This kind of experience parallels the synchronicity of material, function, and convention involved in the conceptual part of the work and I believe innate to the practice of craft.