Jars and teapots have been central to my practice for a number of years now. 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.