With clay being naturally fleshy and expansive, I create vessel-organism hybrids that are queer, as in strange, natural, transitioning, and intimate. Most of my ceramic forms are handbuilt and intuitive; it is important to me to leave space for pieces to come apart so that I can imagine new ways to restructure them. My objects are part ritualistic, part portraiture, and the body, transecology, and mutual flourishing are at the forefront of my making. I am driven by deep curiosity and delight towards my ecosystem and the kinship between transsexuality and nature. The circle shows up as a repeating motif, symbolizing an infinite interconnectedness, or the idea of there being no beginning or end. This applies to a larger idea of boundaries being porous, of the body not beginning or ending anywhere concrete. Instead, I am interested in how the tangible and intangible intertwines, drawing on Donna J Haraway’s “tentacular thinking:” everything is feeling and touching everything else, creating nets and webs that tie everyone to each other. There is nothing more exciting or intriguing than when I toe the line between the abject and desirable, the frightening and magical; everything is an opportunity to envision new futures that are fluid, encourage amorphousness, and are delightfully tentacular.