These gnarled and twisted forms which are made by twirling, tearing and spiraling chunks of clay are conceived as objects for contemplation. Their abstract ambiguity permits a wide range of possibilities that allows each viewer to bring forth what they believe to be the imagery. Raku firing is how I finish much of the work. Inherent in this process is the use of chance which matches how I construct the forms; at times the process is controlled yet I allow for the unexpected. In the end it all fits in perfect harmony with my appreciation of the fragile, unpredictable and ephemeral qualities of nature.