These pieces focus on the body as a site of critical discourse. I am locating one part of this exploration in the female figure. Female figures represented in my 412 series, are vessels made using the traditional potter’s wheel and then altered using my own body- both as a model (the average American woman’s body size is 14- just like mine) and as a tool. During this process, I am physically gazing into the mirror to reflect my own body back into the artwork- referencing how American women are mirrored back to themselves through societal mechanisms. It is with blunt force trauma that I alter these forms- slapping, pummeling, gouging, scratching, and stabbing. Glaze (traditionally a hygienic barrier providing color) is used as a literal and conceptual filter/barrier for the viewer. In general, glaze acts as this barrier/filter thereby distancing the viewer from experiencing the essential reality of the clay. These figures are put into the kiln raw- without glaze- to truly record the trauma of the firing process. As in the Iraq War series, the kiln firing process is integral and inherit to the success of the female figurative work- as the surface of the piece acts as a record of the fire’s inflicted trauma. Through these physically demanding processes and fragmented female figures, I am addressing the notion of what it means to be female.