i'm convinced that most "art timelines" are at least partially manufactured. in the studio, long-term shifts in form and content are never tidy. it's not until you present your body of work that hidden threads in development become apparent. it's more like a series of accidents that, when arranged just so, seem flawless.
surely looking back over a certain number of years is eye-opening. and gratifying. the ridiculous obsession with Raku would lead somewhere. the lite, quirky little figures needed to happen. the trick is convincing yourself (and your committee) that you know what you're doing. the biggest shifts happened during school (no accident), but i still see my work evolving--just at a slower pace. i'm okay with that. sometimes.
turn my earlier work on it's side, begin eliminating the "pottery" references, and you see how i got here. it looks obvious, but "Untitled" (fetish 1) sat on my shelf, dusty, for over a year before it meant anything to me. i didn't get it.