Over twenty years ago, on a flight to New York from my home in Denver, I looked down on a landscape revealed after a blizzard across Colorado's eastern plains. The wind had skimmed the snow from the center of each cultivated field and piled it against the downwind fences. From above, it appeared that the earth had swelled and was still straining upwards against the mesh of fencelines. This powerful image remained with me, and over time, became a part of my work. I began to build cause and effect relationships between my soft clay forms and rigid elements such as wood and metal. I focused on unifying the two or three materials used in the construction, striving to make all the parts necessary to the visual impact of the form. I wanted the pieces to read as through the finished clay was still soft; swelling in the bindings of a a rigid secondary material. Over time, this technique offered many possibilities for expression.