Some of my most recent sculptural works have involved a casting process in which an original is created in clay or wax by pressing or embedding specific objects - pills, snack foods, credit cards, bottles - into the softened material, creating a kind of altered, violent, ghosted lexicon of contemporary tools and consumables. I then cast them in various materials, often using plastics mixed with ground pharmaceuticals, energy drinks, and pigments, to create structures which are literally infused with the things that create them. These works are strongly influenced by the work of Eduardo Paolozzi, who built up structures after scarring them with objects of everyday life at the time - typewriter keys, toys, industrial elements. In addition, they are influenced by the pottery of Iroquois Native Americans. Encountering these in a museum in Canada a few years ago, I was stunned by the level of abstraction that was created using hollowed reeds to press into clay and create patterns and systems of decoration before firing. The process that both of these influences bring up suggests a manner of both abstraction and representation. Marks are created that may be geometric and abstract, especially out of context. But the marks are also highly specific - to their formal source (the size of a bottle top, the shape of a pill), but also their origins, be it a sea shell plucked from the shore or a pill created by a pharmaceutical company.