Studio Potter

 - Aug 1995- onwards

Lorton Arts Foundation

Workhouse Arts Center (Lorton, Virginia, USA)

 - March 2010- onwards

 - Resident Artist

Brent International School Manila  (Mamplasan Campus)

 - Jan 2008– Dec 2009

 - ceramics department head

Philippine High School for the Arts  (Los Banos, Laguna)

 - Oct 2004- Dec 2009
 - Visual Arts Instructor in ceramics

Pettyjohn - Mendoza Pottery School  (Makati,Philippines)
 - Nov 1999– Dec 2008
 - owner and instructor


PUTIK: Philippine Potters Association  (Makati, Philippines)
 - 2003- onwards

- Co-Founder

- Board Member



-1996 Mary Washington College (Fredericksburg,Virginia, USA)
  Bachelor of Science: Business Administration

-1996-97 Corcoran School of Art Washington D.C

 BFA Candidate


 -February 19, 2014

Ayala Museum

ArtistSpace Gallery

Makati City, Philippines

“Deconstructed Rings”

-February 18, 2014

BenCab Museum

Sepia Gallery

Tuba, Benguet, Philippines

“Home, Sweet Home”

-October 10, 2012

The Philippine Center

556 Fifth Ave, New York NY USA

"Hadrian's Wall"

- June 6, 2011

Philippine Center

New York, NY, USA

“Bulol II”

-January 7, 2011

The Reston Museum

Reston, Virginia USA


-June 18, 2010

Romulo Hall

Embassy of the Republic of the Philippines, Washington DC, USA


-November 12, 2008

856 Gabrielle Gallery Cebu

“recent works”

 -January 18, 2008

Izukan Gallery Makati

“armed and dangerous”

 -May 13, 2007

Pinto Gallery Antipolo
"a piece of this... II"

-May 7, 2006

Pinto Gallery Antipolo
-November 7, 2005

Philippine Center Gallery 556 Fifth Ave. New York, New York USA

- June 04,2004

Gallery 139 Glorietta Center Makati
“Bamboo Forms: the Final Slice”
- December 05, 2003

Gallery 139 Glorietta Center Makati
“Bamboo Forms”

- May 09, 2003

Gallery 139 Glorietta Center Makati
“Shardman Ch. 3 Verse 73"

- December 06, 2002

Gallery 139 Glorietta Center Makati
“Hadrian Mendoza working as Shardman”

- July 04, 2002

Gallery 139 SM Mega Mall SM, Pasig
“Recent Works”

- March 18, 2002

Izukan Gallery 88 Corporate Center, Makati
“Spontaneously raw”

- December 07,2001

Gallery 139 Glorietta Center Makati
“Underground Pots...”

- January 10, 2001

Ayala Museum Makati
“Shades of Green”

- June 09,2000

Gallery 139 Glorietta Center, Makati
“Recent Works”

- July 07, 1998

Metropolitan Museum of Manila Roxas Blvd.Manila
Bangko Central ng Pilipinas
“7 months in the Philippines, a diary created through clay


-October 2, 2014 Atta Gallery, Bangkok, Thailand

“Give Me a Spoon”

-September 12, 2014 Vulcan Gallery, The Workhouse Arts Center, Lorton, Virginia, USA

“Earth and Fire: 3rd Southeast Asian Ceramics Exhibition

-April 3, 2014 Lakmuang Gallery, Khon Kaen, Thailand

“BKK:  Bond Klay Keramic II”

-March 20, 2014 Art Informal Gallery, Mandaluyong, Philippines

“Heat Wave”

-November 23, 2013 Watershed Gallery, Ridgefield, Connecticut, USA


-November 9, 2013 The Workhouse Arts Center, Vulcan Gallery, Virginia, USA

“Out of the Fire”

- May 9, 2013 Nexus Multicultural Arts/ Lion Arts Center, Adelaide, South Australia

“Creatures Under the Bricks”

- March 13, 2013 Workhouse Arts Center W16, Lorton, Virginia

“Incarceration: Visions of Confinement”

- March 1, 2013 Genji Space, Bangkok, Thailand

“BKK: Bond, Klay, Keramic”

- June 2, 2012 Dao Artspace, Xian, China

"Clay Unity: Celebrating the Diversity of Southeast Asia"

- June 2, 2012 FLICAM Museum, Fuping, China

"Clay Unity: Celebrating the Diversity of Southeast Asia"

- October 30, 2011

Gorse Mill Gallery, Massachusetts, USA

"Chawan: An International Exhibition"

- September 9, 2011

Umjetnicki Pavillion, Opatija, Croatia

"Chawan- Noble Tea Cup"

-December 19, 2009

North Art Space, Jakarta, Indonesia

Jakarta Contemporary Ceramics Biennale #1

-October 20, 2009

Taipei County Yingge Ceramics Museum, Taiwan

“Southeast Asian Ceramics Exhibition: The Crossroads of Civilization”

-October 9, 2009

Ilo Ilo Museum, Ilo Ilo, Philippines

“Sining Luad”

-September 21, 2009

Ayala Museum, Makati

“The Ring of Fire: 1st  Southeast Asian Ceramics Exhibition”

-September 8, 2009

SM Megamall Artspace, Mandaluyong

“5th Annual Sculpture Review 2009”

-March 15, 2009

SM Megamall Artspace, Mandaluyong


-December 2008

Victoria Hotel, Siem Reap, Cambodia

“Contemporary Ceramics”

-November 9, 2007
Shangri-La Mall, Mandaluyong city
"Pottery Lifestyle"

- July 9, 2007
Greenbelt 3, Ayala Center, Makati

- May 22, 2007
The German club, VA Rufino St., Makati
"5 Potters"

- January 24, 2007
Inter-Continental Hotel, Makati
"ArTEAculation" the first Philippine teapot exhibit/competition

- November 29, 2006
Budji's Gallery, Bel Air, Makati
"Hadrian Mendoza and Carlo Magno"

- November 15, 2006
Artspace, Glorietta Center, Makati
"Reunion: Balance and Form" 2-man show with Rachy Cuna

- October 3, 2006
Artspace, Glorietta Center, Makati
"Function Conjunction"

- November 24, 2005
Budji's Gallery 235 N. Garcia St. Bel Air, Makati
Hadrian Mendoza and Isabel Diaz
"a piece of this... "

- September 2005
International Chawan Exhibition 2005 Abbey of Hemiksem, Belgium
"Joy to the Noble Tea Cup"

- August 1, 2005
Zibo Ceramic Museum Zibo City, China
"International Exhibition"

- July 15, 2005
Joryung Folk Art Village Goesang, South Korea
"Macsabal International Exhibition"

- May 8, 2005

Pinto Gallery Grand Heights, Antipolo

"4th Annual Maytime Arts Festival"

- December 17, 2004

Mag: net Gallery Paseo Center, Makati

- November 05, 2004

Art Space Gallery Glorietta Center, Makati
“Hadrian Mendoza Jon Pettyjohn 2 man show”

-February 20, 2004

 Mag: net Gallery Paseo Center, Makati

-December 19,2003

Mag: net Gallery Paseo Center, Makati


- July 03, 2003

 International Mascabal Exhibition Seoul Korea
“Kim Yong Moon Gallery”

- December 15, 2002

Izukan Gallery 88 Corporate Center, Makati
“Group Show”

- November 23,2002

Drawing Room Metro Star Bldg.,Makati
“Household names”

- August 2002

Aomori Woodfire Exhibition Japan
Goshogowara museum
Goshogowara- shi, Aomori-ken

- December 12, 2001

University of the Philippines Vargas Museum Dil.Q.C
“Philippine Anagma project II”

- February 17, 2001

 MTV Philippines, Fort Bonifacio, MM
“Rebirth Modern Artists”

- February 10, 2001

 Liongoren Art Gallery Cubao, Q.C
“Patibong ng Puso”

- May 04, 2000

Intercontinental Hotel Makati
“Flora-Flora Exhibit”

- October 07, 1998

NCAA Intramuros, Manila
“Ang sining ng luad”

- November 1997

Madeira School of Art Langley, Virginia

- April 1997

Corcoran White Walls Gallery
Corcoran Gallery of Art (Washington DC, USA)

“Sculptural Vessels”

- February 1997

 Clarendon Art Bar/Gallery (Clarendon, Virginia)
“Group Show”


-October 10, 2014

“Earth and Fire: 3rd Southeast Asian Ceramics Symposium”

The Workhouse Arts Center, Lorton, Virginia USA

- May 5, 2012

"Clay Unity: Celebrating the Diversity of Southeast Asia"

FLICAM Museum, Fuping, China

- October 31,2009

Southeast Asian Ceramics Workshop

Taipei County Yingge Ceramics Museum, Taipei, Taiwan

- September 22, 2009

1st Southeast Asian Ceramics Workshop

Ayala Museum, Makati, Philippines

- December 2008

Khmer International Ceramics Conference, Siem Reap, Cambodia

 - July 15, 2005
8th Annual International Macsabal Woodfire Festival
Bucheon City, Korea and Zibo, China

 - July 03, 2003

7th Annual International Mascabal Woodfire Festival Korea
Joruying Folk Art Center
 - August, 2002 Aomori Woodfire Festival Japan
Goshogowara- shi, Aomori – Ken


August 2009 Makiling, Calamba, Laguna Philippines

-Down and cross draft wood/salt fired gas kiln with sprung arch straight wall

August 2008 Makiling, Calamba Laguna Philippines -2 chamber woodfire and salt kiln

February 02, 2002 Makiling, Calamba Laguna Philippines -Down draft sprung arch straight wall reduction kiln

April 2001 Pansol, Calamba Laguna Philippines - Anagama Kiln  “Musang-gama”


- June 2012-2014

Asian Cultural Council Humanities Fellowship Grant

The Workhouse Arts Center

Lorton, Virginia  USA

Curator of  “Earth and Fire” ,  3rd Southeast Asian Ceramics Symposium  in USA

-May-June  2012

FuLe International Ceramic Arts Museum (FLICAM)

Fuping, China

“Clay Unity: Celebrating Southeast Asia’s Diversity”

Organizer of  The 2nd Southeast Asian Ceramics Exhbition/ Conference in China

- November 2007-2009

Toyota Foundation, Tokyo, Japan

Asian Neighbors Network Program Grant  2007-2009

“Unlocking Southeast Asia’s potential”

Organizer of  “Ring of Fire”,  the 1st Southeast Asian Ceramics Exhibition/Conference in Ayala Museum, Philippine

- April 1997

Corcoran Gallery of Art Washington D.C
Anne and Arnold Abramson Award for excellence in ceramics

1996-1997 ceramic artist of the year


-March 2014  Khon Kaen University

Khon Kaen, Thailand

- June 2012 FLICAM Museum

Qiaoshan Rd., Fuping, Shaanxi, P.R. China

- January 2012

 BenCab Museum

Km. 6 Asin Road, Baguio City, Philippines

- June 2010

The Philippine Embassy

1600 Massachusetts Ave NW

Washington, DC 20036

- October 2009

The Ayala Museum

Makati, Philippines

- May 2009

Shangri-La Boracay Resort

Boracay, Philippines

- December 2008

Khmer Ceramics Center Gallery

Siem Reap, Cambodia

- January 2007

The Penninsula Hotel
Makati city

- November 2005

Philippine Consulate in New York
556 Fifth Ave. New York, NY USA

- August 2005

Zibo Ceramic Museum
Zibo , China

– July, 2003

Joruyong Folk Art Center


- August ,2002

Goshogowara museum Japan
Goshogowara- Shi, Aomori- ken , Japan

 - July 07,1998

Metropolitan Museum of Manila

Roxas Blvd., Manila, Philippines

- January 1997

The Corcoran School of Art

Washington DC, USA


- October 2012 Consul General Mario L. deLeon, Jr.
- July 2011 Loida Lewis
- July 2011 Ambassador Jose Cuisia, Jr.
- June 2011 Robert E.A. Borje, Philippine Permanent Mission to the UN
- June 2010  Pinky Puno
- January 2010 Governor Fauzi Bowo (Jakarta, Indonesia)
- September 2009 Edru Abraham (Kontra-Gapi)
- September 2009 Connie Gonzalez
- January 2009 Dr. & Dra. Suratos
- January 2008 Brgy Captain Nene Lichauco
- May 2006 Dr. Joven Cuanang
- November 2005 Consul General Cecile Rebong
- November 2005 Josie Natori
- July 2005 Francisco "Django" Bustamante
- May 2005 Armida Singuion-Reyna
- May 2005 Ambeth Ocampo
- April 2005 David and Stanley Chua-Unsu
- January 2005 Anita Magsaysay – Ho
- December 2004 Budji Layug
- November 2004 Daphne Osena-Paez
- November 2004 National Artist Napoleon Abueva
- November 2004 National Artist Ben Cabrera
- June 2004 Bea Zobel
- 1998 Jon Pettyjohn
- 1997 Rachy Cuna


-“His Medium is Magic” Manila Bulletin, Lifestyle E1, Mar 17, 2014,

By Filipina Lippi

-“Building a home out of clay” Philippine Daily Inquirer, Lifestyle C3, Feb 17, 2014,

By Alya Honasan

-“The 3 Year Cooling Cycle” Ceramics Technical Magazine Issue #37, Dec-May 2014,

By Hadrian Mendoza

-“Unity in Clay: Celebrating the Diversity of Southeast Asian Ceramics in China,” Ceramics Technical Magazine Issue #36, June-Nov 2013,

By Hadrian Mendoza

-"Two Workhouse Artists Travel Abroad" Connection Newspaper April 5, 2012

-"Philippine Bulol Sculptures" The New York Times, Arts Section, June 2, 2011,by Anne Mancuso & Sunita Reddy

-"The Ring of Fire" 1st Southeast Asian Ceramics Festival, Dao Clayform Magazine 2010 Inaugural Issue, by Hadrian Mendoz 

-“The Ring of Fire: Contesting the Myth of Homogeneity”, asianart.com, November 2009, by Helen Yu-Rivera

-“Homage to the Bamboo”, Ceramics Art and Perception Magazine, September-December 2009 #77, by Helen Yu-Rivera

-“A Sense of Self and Place”, Business Mirror, November 2008, by Helen Yu-Rivera

-“Shards and Shades”, Metro Magazine, March 2008, by Alya Honasan

-“Form and Balance”, Philippine Inquirer, November 27, 2006, by Erlinda Bolid

-“Dancing Hands of a Stoneware Potter”, Philippine Panorama Magazine, Novermber 26, 2006, by Filippina Lippi

-“Natural Selection”, High Life Magazine, November 2006, By Hans Audric Estialbo

-“Hot Water”,  British Ceramic Review Magazine, March/April 2006

-“For Your Table with Love”, Metro Home Magazine, June 2006 Volume 3 #2, By Alya Honasan

-“Art Pottery”, Mirror Magazine, May-June 2006, by Lita C. Lee

-“High on Pots”, Filipinas Magazine, April 2006, by Barbara Mae Dacanay

-“Hadrian Mendoza at the Philippine Center”, Newstar Philippines, December 2005 Volume 40, by Robert P. DeTagle

-“Master’s Apprentice”, Philippine Inquirer, November 7, 2004, by Joy Rojas

-“Calling the Pot Art”, The Philippine Star Magazine, November 7, 2004, by Raymz Maribojoc

-“Hit the Pot”, Real Living Magazine, June 2004, Apol Lejano

-“The Picasso of Philippine Pottery”, Gulf News, June 4, 2004, by Barbara Mae Dacanay

-“Dinnerware for Those with a  Taste for the Unusual”, Philippine Inquirer, July 28, 2002, by Joy Rojas

-“Hadrian the Potter”, Manila Standard, March 19, 2002, by Tere B. Lopez

-“Prolific Self-Expression through Clay”, Malaya Living Magazine, July 9, 1998, by Rowena C. Burgos


Ceramics is a craft that has been tied in to daily life since it was first discovered. You take the Earth and you adjust it with water, air and fire. I find it awesome that one can take a natural material such as clay and use the elements to create a piece that can last centuries. The essence of the material sends me back to nature as I am inspired to search through history and at the same time discover the future. The historical ties ceramics has with humans is evident in archaeology through discoveries worship idols, functional wares and burial jars. I find a balance between the past and the future, where my pieces can speak to a wide audience.

Building a Community

Since 2007, I have been building a community of ceramic artists from the Southeast Asian region through organizing a series of conferences that build unity among contemporary ceramists. These conferences occur every 2 years and have been held at The Ayala Museum (Philippines), Fule International Ceramics Museums (China), and The Workhouse Arts Center (USA). The latest event will return to the Philippines in December 2016 at The Ayala Museum. These conferences have been financially supported through grants provided by The Toyota Foundation Japan, The Ayala Foundation, The Asian Cultural Council and Futo Industries. Through these gatherings that include an exhibition and workshops with lectures and demonstrations, the ceramic artists share their ideas and knowledge of the craft. This interaction contributes to the mixing bowl of cultures that is fostered at SEAPOTS’ events. This ongoing project is important in connecting artists, scholars, philantrophists, gallery owners, curators and students to create a synergy and community that transcends national and cultural boundaries.

Work Philosophy

My art is rooted with historical references to the past in dialogue with topics relevant to contemporary views applicable to the present society. I work in 2 ways: through an intuitive process and a structured method. I believe that creating in both ways allows my work to evolve and to be in the moment. The surface treatment reveals an expressionistic feel with quick strokes and movements that are evident with marks from my fingers and simple wooden tools. I like to have my fingerprints visible in the clay. I believe that working through intuition evokes raw feelings evident in the finished product. Improvisation plays a big role in my creative process, creating first and letting ideas develop and evolve. A piece can change directions at any given moment in the creative process. Intuitively, my hands move with the clay as they create.

I believe it is also important to work with an organized plan and carry out a message or vision in a controlled process. This method allows me to develop more concrete pieces and installations that can make political and societal statements. Working this way can be boring at times, since you have to follow a specific method through out the entire creative process.

Homage to Philippine Idols

As an artist who works with clay, I have done a lot of research out in the field and in the studio seeking a connection to the past and how it can relate to the present. Pottery is one of the oldest art forms, possibly the second form of art discovered after cave paintings. I always pay homage to my past by recreating pieces that are important in the history of Philippine ceramic and craft.

I’ve frequently reworked the Manunggul Jar and the Bulol. The Manunggul is the prized piece of ceramic in the Philippines. It was discovered in Manunggul cave in Palawan, Philippines during 890-710 B.C. It is considered a national treasure because it is widely acknowledged to be the Philippine’s finest pre-colonial work of art. It is used as a burial Jar as two figures on a boat sit at the top of the lid to represent the soul’s journey to the afterlife. The Bulol is an Ifugao rice god made of narra wood. They are carved in pairs by farmers and are believed to bring good fortune of bountiful yields of rice. The expression on the Bulol’s face is that of a trance, looking into the future with a muted mood.

In my journey through clay, 2004 was a year to start paying homage to my ancestors and a time to reclaim my culture through these types of studies. Born in Manila, Philippines and educated in the US, I hold a dual citizenship from both countries. I have lived in both places throughout my life and absorbed the culture from two countries located on opposite ends of the globe. After moving back to the Philippines in 1997, I made deliberate attempts to put heavy cultural undertones in my work with images, themes and moods that originated in my place of birth.

I started my series of the Manunggul Jar in 2004 and have revisited it from time to time since then. I have recreated the piece as a circle placed on top of a vertical cylinder. On top of the whole sculpture sits the boat with 2 figures, with their faces wrapped in cloth that run around the forehead and also wraps underneath the jaw. The circle is shaped like a doughnut in which the middle is an empty space. This interpretation is quite different from the original jar, which functions as a burial jar that will be filled with the deceased’s body along with items they owned that were found valuable such as ceramics and precious stones. They believed that these material goods would be taken with them into the next life. In my version, the empty ring represents that all material goods remain in this life. What we take with us are the positive things we have done for others while on Earth and we leave everything that is material.

In this same year I also created my first Bulol rendition. To me, the piece is a symbol of hope and belief that the future holds positive things despite any uncertainty of its outcome. With the Bulol, I focused on making changes in 2 ways: by altering the body’s position and by breaking the piece down into parts and focusing solely on the face. The challenge in creating this piece is using simple marks to create deep and meaningful gestures and expressions in parts of the face, specifically to the eyes and the mouth. This series became an exercise of using efficient and minimal imprints to achieve a powerful piece despite its simplicity. Altering the body also makes a significant alteration on the message of the piece. I’ve made the body lean back and forth and even curved it into a full circle. Curving the torso into a circle symbolizes continuity and repetition of the past finding its way into the present. A body leaning forward gives it a stronger gesture of looking forward into the future, with hope of good fortune.

By working in light of symbolic cultural icons, one can discover their roots and at the same time reinterpret their traditional beliefs and meanings to create pieces relevant to the present day.

Inspiration From Other Cultures

To enhance my knowledge of the craft, I draw inspiration from historical practices from different countries. In Japan, there is a technique called Kanazawa-Haku that incorporates epoxy, lacquer and gold leaf to cracks on a fired ceramic piece. Cracking is the biggest enemy of a potter and may suggest an error in the firing or technical process. Japanese potters have found a way to highlight these cracks and bring out the beauty of a split in a piece by filling it with epoxy, then applying lacquer and finally a thin layer of gold leaf on the surface. The result of this process would be a golden line similar to the movement of a lightning bolt or the roots of a tree. This creates a strong contrast with the earth toned clay or shiny glaze. In this present day where natural resources are diminishing and there is an increase in awareness for the environment, I believe it is important to save selected cracked pieces and bring out the beauty of a mark that is a result of technical or material error. As an artist, my pieces with gold leaf remind me that I am not perfect and that beauty too can be found in an imperfect object. The search for the ultimate crack continues, and as my friend and fellow potter Jon Pettyjohn says, “I’ve never met a crack that I didn’t like.”

I also draw inspiration from the Korean method of coil and throw. This technique allows me to make large jars where I start from a bowl form, then add thick coils of clay to the lip when the bowl has hardened. The coil is then raised to continue the form. This process is repeated until the desired shape is achieved. From contemporary Korean potters, I have also learned techniques using different parts of the palm to yield differing results.

Africa also provides a wealth of inspiration for my works. I have studied African masks made of wood and incorporate the simple lines and curves that render eyes and other facial features. I find this very similar to the Bulol rice terrace god in the way simple marks can create a strong expression on the face. By embracing other cultures I am able to understand the similarities between historical objects and the likeness between human beings as well. I have also used the ritual of scarification on faces that I create, designs specifically from Nigerian tribes. I now understand that beauty can be appreciated by respecting and learning the historical relevance of customs practiced in other cultures.

Phases of Faces

I have always incorporated the human face into my pieces. I believe this is an effective way of making a connection with a wider audience and captivates them as they reflect on their features. The audience finds a connection related directly to themselves or their family and friends. In 2012 I started making globular heads that hang on the wall. The faces rendered on these wheel thrown circular forms have evolved from abstraction to a realist approach.

The first series I created was inspired by the Bulol which has a peaceful gaze. Then they evolved into abstract marks that represent specific facial features. For example, a fork dragged across the cheeks resembles wrinkles and age. I then made different features to resemble different cultures. These were then installed on the wall in circular form with a diameter of eight feet. Titled Circle of Friends, it puts forth a message that despite our physical differences, we are still one community. The individual heads may differ in features, but the pit fired finish of red, black and white unify the composition and erase these physical boundaries.

In 2015 I created a series of heads titled Warriors. These hung on the wall an inch apart in 2 rows. They all had different colored hair with various lengths and quantity. Their faces are glazed with distinct colors to represent different skin tones. Each piece has varied septum piercings using porcelain clay to resemble bones that were used in tribal piercings. Warriors carries a strong message of globalism. Despite our racial differences, there is a global movement that unifies us in the piercing culture that thrives throughout the world. This culture has no prejudice of age, gender or race.

In November, 2016 I created a wall installation of 200 heads of varied sizes that are randomly installed on a wall with dense and sparse placement among the heads. The placement is similar to looking at the stars where there are tight clusters and lone ones that have abundant space around them. The differing sizes create depth within the placement of clusters. Each face has sharp cheek bones and other facial features which give them a gaunt and tired look. They all stare straight ahead at the viewer and have a dark and gloomy mood. Their lips hint at unhappiness and their brows have frowns that reflect the current mood of the Filipino people. This piece is titled Pusher, and is a political statement referring to the current situation in the Philippines in which president Duterte has supported civilian extrajudicial killings of drug users and dealers. This has opened a gray area in which killings have been rampant and have exceeded 3000 deaths during his first 6 months as president. Victims include and are not limited to addicts, family members, drug pushers and innocent bystanders.

Within the Contemporary Ceramics Scene

Ceramics in the present can be in the form of a mural placed in buildings and homes, sculptures for museums or platters destroyed and hung on the wall. But a potter always has the option to go back to the craft’s roots and create functional wares meant to be used in daily life. I play somewhere in between the craft and the art. I enjoy creating simple pieces that function at a dinner setting, and at the same time create sculptures that are rooted in concept. Going back and forth between the two creates a balance to develop the conceptual and technical aspects of this material.

Final Thoughts

My works have a recurring theme of globalism and transnationalism as they reach a wide audience. They seem familiar to the viewer and can be translated in various ways. With all the different cultures that I interact with, it is important for me to let these experiences fuse into my work and way of living.