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Jars and teapots have been central to my practice for the last few years. The teapot, more demanding of specific engineering particular to its function, and the jar, a generous canvas, its criteria of containment more permissive. These pieces fuel or act as counterpoint to other forms, or subjects under consideration. I am interested in pottery form for its familiarity and congeniality, its ability to disappear into private/personal activities and places. But this is only one aspect of the work that, through its intelligence of color, form and stance can also excite/awaken attention and thereby reflects back to the viewer their own imagination. Invisible or visible, or oscillating back and forth between these states, the pots foster both attention and inattention. They are insistently existent, and continuously stir.