I came to clay when I was in my early 60s for a very practical reason: I wanted to create plates and vessels for the food I loved to cook. But as I fell deeper into the mud, I slowly realized that creating structures was a way to express my view of life.

Much, but certainly not all, of ceramic art relies on the fast spinning wheel which by definition is largely dictated by the physics of wheel itself. This translates into even edges, precise lines and balanced structures and mostly smooth surfaces. Of course, there are a myriad of ways in which a ceramicist can play with these dimensional dictates, but basically the wheel rules.

Despite being an attorney whose life is immersed in rules and structure, I have always drifted toward the imbalanced, the unexpected and the uneven- even in the areas I have chosen to practice law. So, after just two or three sessions with a wheel, I sprinted as fast as I could from the whirling metal and landed in the hand-built world of wabi sabi where the hallmark principle is that in the imperfection lies the perfection.

It is still all of course a work in progress but safe to say my pieces careen from carved irregular exteriors to broken bumpy angular surfaces… ones in which I have purposely made the walls uneven, and have broken and carved the edges and beaten and cracked exteriors. However, I have also combined various clays to create kaleidoscopic smooth surfaces mixing different clay bodies– all of which portray the reality if our lives behind the curtain.

- Paul Mones