The importance I attach to the history of ceramics in Canada is fundamental to my research. I am inspired by stoneware containers once manufactured here, and which were used to store our food. I try to revive their meaning by imbuing them with a new symbolic significance. My explorations are strongly influenced by issues related to identity; those that define us as people and those that are much more personal. An identity that is marked by our status as a Nordic country, our scenery, our land and our experiences of winter. Our identity is also touched by its reflection, the mirror image that is returned by those who observe us. It is a consideration of these powerful symbols – that define us or that are imposed upon us – that allows me to create works that reveal striking contrasts between form, material and imagery. My uncommon approach comes from my training in both visual arts and ceramics. I use various printing techniques on the clay, such as screen printing and linocuts. I prefer porcelain, a noble material that is at once delicate and indestructible, and which, when fired, becomes a repository. Porcelain is thus a tangible and material witness to the fragility of our environment and our relationship with it. It represents the nostalgia that unites us to our memories and to the passing of time. At the heart of my approach, my work questions our relationship to the past, to our present and to the context in which we move forward.