The fact that nay works go through a process of being formed in clay and then fired places them in the genre known as ceramic art, but I try not to think of them as such. The reason for this is that I always approach a new piece in terms of what the clay and ceramics I work with actually mean to me. We take the clay form the earth upon which we stand，we manipulate it according to our will．and we transform it into something different：this is an effective way of taking another look at the long history of humanity and this perspective is an integral as pect of my artistic production.

Cracks, a phenomenon Characteristically found in clay when it dries. play a central role in my work and in the patterns that result. Rather than focus on the interest of the shapes of the cracks, however, I prefer to concentrate on the images and meaning created in the relationship between myself and the cracks. The cracks could be said to bring out the energy in the clay and thus act as a medium for starting a conversation with the clay itself. I approach the clay as a substance with something to say and then my ego confronts that. My search form potential in my artistic production has focused on how I either adapt to or confront the assertions of the clay. Each answer I find has informed the changes through which my artistic production has developed．

The first time I began to really understand what the firing process meant was when I realized that ceramic production was a war of artificially manipulating rock in the context of geological transformations of rock into clay and vice-versa, which take place all the time, but at an incredibly slow pace. My desire is to add my works. Which are my own humble Contribution to creation, to these slow geological transformations. Within the small artificial space of the kiln, time is compressed and the traces of intention and consciousness which I imbue the clay with are left behind as fossils. My hope is that the resulting works contain the premonition of further transformations．

Every day the world dies and is reborn. Where is the proof that we are living today, within the parallel processes of destruction and regeneration?