As the studio expanded, it was divided. On one side was pottery for design companies. I hired assistants, and experts in various specialized fields – model and mold making, glazing and firing – to help build my repertoire of technique. On the other side I was developing an art career where I could do very experimental work.
I’ve always had an intuitive connection with my mother through pottery, but at that time I began to read my father’s work on evolutionary biology. In my emerging sculpture I began to see the connection with principles of evolution: how through eons, the identity of an individual becomes cyclically subsumed as part of a greater whole. From single-celled organisms to multicellular organisms, from individual organisms to groups, herds, flocks, schools, tribes…