The making of my sculptures can be described as a sort of extreme kind of playing – the process is wild, fun, and full of action, but the play material is a 1650F molten mass, shifting between malleable and stiff in a matter of seconds. My rapidly made sculptures come together under two opposing forces: control and serendipity. Traditional glass making is based on following precise rules because of the difficulty related to the craft. I mess with that by creating objects that are made fast and without the typical tools, creating prime conditions for me and the glass to work spontaneously together. My process clashes with the unyielding forces of gravity and time, compelling me to free myself from my own preconditioned notions of good form and perfect technique. I need my focus to be 100% or this delicate relation will collapse, yet I can never fully predict the outcome and I never have complete control. By immersing myself in unconventional fabrication processes, I try to manifest my interest in deconstructing existing hierarchies: all things are malleable (like hot glass) and nothing can be permanently defined. My experimental sculptures in glass are therefore not only an approach, but also a statement. - One that states never to get caught up in restrictive norms or to obey established hierarchies. My work plays with possibilities within materials and the results often goes against classic understandings of what a material is and can do.