Chapter I describes the purpose of the project, which was to develop a body of work that exhibits all that I am at this point in time. The questions I presented to myself were the following: 1. A successful piece is defined by what parameters? 2. What visual qualities indicate my passion for clay and my enthusiasm for life? Chapter II lists and explains the five parameters of a successful piece, which are composition, firing, mark making, color contrast, and movement. Furthermore there is an explanation on how these parameters visually display my passion for clay and my enthusiasm for life. Chapter III is a summary concluding that by discovering my five parameters of a successful piece I now understand the elements that I am searching for in my work. My work will grow from this understanding as long as I have the same passion for clay and enthusiasm for life.

The first chapter of this descriptive paper outlines a problem, proposes a solution and poses three questions for me to answer after completion of research. The problem was to bring an emerging ceramic style into all of my pieces rather than just the few I have mastered. The solution was to create three sets of new forms and make them repeatedly until they boasted the sought-after style. Chapter 2 chronicles the research of creating, morphing, detailing and finally mastering these new forms. Chapter 3 summarizes the experience and answers the three aforementioned questions: (1) What is my personal definition of a successful pot? (2) How does the undulating style affect the functionality of the pot? (3) How does the Campbell tartan glazing complement or detract from the pot's form?

Through my art I seek to communicate the continuing cycle of change that unites all life forms. I had to find methods of presentation and surface that would enhance my sculptural statements that I had begun to address. Utilizing salt, wood and low temperature sagger firing, resulted in softer, more natural appearing surfaces. These surfaces complimented and completed the organic forms with which I was working. The problems encountered in presentation were rectified by alternately contrasting the surfaces of the presentation with the surfaces of the pieces, while utilizing forms that echoed the natural forms of the pieces. The opposite approach also worked well, using natural presentation materials to create a sense of unity, and geometric bases for contrast. These methods resulted in an increased sense of energy, unity and completion in the work presented.