My work is about the repetitive sequencing of separate elements to form a cohesive sculptural group. By using hundreds of smaller components to create one large piece, the focus is shifted from emphasizing the importance of a singular piece, but to find each as beautiful and important as the whole group that they create. What drew me into creating these installation pieces was the process of working with porcelain slip. Each piece began by being gesturally painted, poured, intentionally cut and manipulated by hand, then fired before being composed. 

Much of my inspiration and research for this installation has roots in Japanese philosophy and looking at artists such as Hiroyuki Nakajima and Kazuo Shiraga. The title of this piece references, in it’s barest essence, the Japanese philosophy of a world view centered on the acceptance of transience and imperfection, celebrating the beauty in flaws. I find the idea of abandoning "perfect" and even "good enough" irresistibly tempting. I see this installation as a metaphor for life—the fingerprints, cracks, and unplanned events— is itself perfectly imperfect.