For more than 25 years now, I've sought to make pots that retain their softness throughout the entire process. My mentor, Toshiko Takaezu, frequently alluded to the invisible, interior air inside her vessels. There was a secrecy and mysticism hidden in her vessels that was a natural launching pad for her lifelong curiosity and exploration in clay. In my studio, that curiosity is manifest in embossed textures, line, volume, and gestural curves. I generally try to stay on the sidelines as each pot emerges on the wheel. I'm very much just along for the ride...and if it looks like I wasn't even there by the end, well...to me, it feels as if I did something right. Lastly, wood-soda firing my pots has been the most natural ending to a very spontaneous approach to making pottery. You simply have to let go as the kiln is lit...and then trust the process each time you fire. Despite more than forty firings...and with a very limited palette of slips and glazes, I still get surfaces and effects that I've never seen before. How epic is that?!?