My sculptural work focuses on gender issues, especially the objectification of women. We’ve been told woman's place is in the home. There surrounded by objects, we have been domesticated from our wild or natural state to one more beneficial. In the worst interpretation women are nothing more than objects themselves, property of their husbands. We have been thought to be appeased with gifts of domestic items, fine china, tchotchkes, vases, etc. Sexist ads over the decades have told husbands to buy their wives these things to keep them placated and willing to do their duty in the home and in the bedroom. 
In this light, working in ceramics refers to this domesticity. The objects I’m  currently exploring in ceramics are undergarments, handkerchiefs and dresses. They work as portraits with no face, as much every woman as any woman since to me they are layered in meaning, as symbols of both objectification and power, personal and impersonal. 
Women have mixed feelings about exposing their undergarments from empowerment to shame, something we are aware of but generally hide from the world. Undergarments are a symbol that we've used to reclaim our power, from bra burning to underwear selfies looking for validation ranging from being sexy to being real. 
Handkerchiefs have a history as a woman’s object, used as a token of love, to convey secret messages, part of dowries, and with the dawn of screen printing, even as propaganda. Dresses convey beauty, status, and expression. So much meaning is tied to what we wear and what we own. Creating these traditional textiles in ceramic references the domesticity of the medium, and women’s place while the forms have replaced the body or the woman as the subject.