Although I am trained as a potter and an object maker, drawing and painting is an important part of my studio practice. CAD/CAM, graphic design, and vector language aesthetics have been influential in my understanding of how both drawing and sculpture come to be. The idea that all form can be quantified as a collection of infinitely scalable lines and points is changing the way I perceive objects. This raises the question of how important the "hand" of the maker is to create meaningful work. I embrace my hand as a tool that can be used to distort idealized form through the shortcomings of my own precision.