In the early 1980s, my practice centered on the tension between control and spontaneity. Working primarily in two-dimensional stoneware tiles, I developed a technique of embedding hand-cut porcelain and colored clay shapes into the surface. As I rolled these forms together, the clay would shift and displace, creating unpredictable, organic silhouettes. These 'distorted' foundations became the stage for my narrative: a whimsical landscape of fine-line drawings, sculpted hands, and miniature wheel-thrown vessels that invite the viewer into a delicate, tactile world.