My practice is part of a hybrid movement emerging from ceramics, in which materiality and temporality are grounds for a conceptual framework. I embrace the haptic qualities of clay and use other malleable materials—such as plaster, chalk, rain, snow and sunlight—to create ephemeral public interventions that track and trace particular moments in time between people and place. Sometimes the installations absorb and erode in a manner of days, weeks, or months; in other instances the work exists as an organized event for a specific duration. My work is at once sculptural, site-responsive, performative, and participatory. I directly engage others in my process and often position myself as ‘facilitator’ in order to question authorship and to blur the overlapping roles of artist/viewer/participant/collaborator.