How do we read symbols or alphabets we aren’t familiar with? I have been influenced by cuneiform tablets, by the ancient/secretive/religious nature of scrolls, by hieroglyphs and calligraphs, by family genograms, by Asemic mark-making and by the visual word salads of truths we don’t yet understand. It is deeply satisfying to work through much of this in the tiny book form and in the micro-memoir form, the collage format, and the altered plate. By changing the perspective, the materials, do we change the visceral experience of language, or even the absence of language, as with porcelain as a medium in “Three Silences” or “Empty Page?” Or the smoked earthenware vessels and sculptural plates that defy the traditional notion of “pottery.” Or the translucency of memoir both in text as well as physical form? As a visual artist who specializes in working with paper thin translucent porcelain, papers, fabrics, and found objects, and as a writer and psychotherapist who specializes in words and the negative space where there is an absence of words, I cherish the ability to fuse these disciplines into my own very personalized expression of book art, of collage, of vessel.