My work demonstrates commitment to sustained investigation of intellectual and emotional issues through ceramic sculpture and is divided into Four phases. The first one was personal issues such as emotions and feelings that I faced earlier from 2005 to 2010. Through the ambiguous facial expression and color exploration, I was able to express myself.

In the second phase I created social commentary pieces around in 2010. Through many years of my working experience, I found that there exists the politics between people. In one of the pieces I created in the period, "Crowd V", I tried to describe what I felt by creating over 25 figurines and sculptural coil vessel forms that were reflecting the human society in skyscrapers. Through the ambiguous facial expressions, I could express the anonymity that was forced by the society and through the ridges on the vessel forms, I conveyed
"Living in the contemporary society as a human being requires many things to us. One of them is anonymity. Tall vessel forms reflect skyscrapers in a city, and the group of small figures conveys the anonymous state enforced by the society. There is a gradual transformation in figurines, from nicely modeled to blank frontal. The asymmetry of vessel forms, and their texture and ridges implies passage of unnamed lives. It leads viewers’ eye and mind to another state over the surface and the form where they can contemplate the modern society; detachment, conflicts, estrangement, anonymity and so on."

I hit the delete button accidentally so I had to rework to create this section. It is supposed to be under the first one; Head Project - I.

In the third phase, I have been exploring the feminine issue by creating woman’s portrait pieces and breast forms. They were displayed on the wall and floor in a gallery space as a form of installation.
One of the series, “Feeding – XII”, reflects my interest of ceramic piece on the wall. It is a sensual form of a woman that evokes emotions and feelings related to the viewer’s memory. The memory triggers its function and role in society and the physical state of being. The carnal and tactile forms are arranged in a diamond shape on the wall with sixteen pieces. The rhythm and harmony of Asian brush strokes on the surface interplays the physical and spiritual world as well as negative and positive space. The work is visually attractive and displayed gracefully in a controlled setting that invites the viewer to come closer and look. The result is the fusion of sculpture and ink drawing, exploring the intersection of different arrangements; both interlocking and integration of the physical and spiritual world of human beings.

In the fourth and most recent period, I have developed the Head series further and arranged them vertically by employing a steel rod and its plate to support individual heads and a variety of organic forms.