My current body of ceramic sculpture is heavily influenced by my research of classical Roman portraiture and its use as a narrative device to indicate societal standing and power. When I was in Rome, time was a strong presence with the obvious evidence of previous ages. Living with the layers of history and visiting museums of antiquities raised questions as to what is chosen to be preserved, what is valued and the ramifications of these decisions on future generations. There is a need to acknowledge power structures as we frame our personal and cultural histories. Portraiture tells a story but we need to remember that the story has been altered and subverted by time.

Additionally, the idea of fragmented or false narrative is influenced by observations of the effects of dementia on my father. With this disease, the narrative thread of life has been cut and memories are not accurate. My father needed his personal narrative reaffirmed every day. The question of what kind of man he had been is no longer known but had to be related to him by others. As time passed, he inhabited a new and different type of personality with only shades of his former self. Just as our understanding of history can change with age, who we are can be fundamentally altered by the ageing process. By creating works that are then presented as artifacts and icons, the narrative of the past is changed by our present interpretations.