Inspired by myths and surviving primeval rituals about the craft and processes of pottery making and firing, my shrine-like sculptures, figurative deities and masks are modern interpretations of the potters' protective guardian of the kiln firing, the “kiln god.” While many different beliefs, customs and types of kiln gods have been produced since antiquity among diverse cultures throughout the world, it appears that kiln god customs in the United States are among the most unstructured in terms of not having any prescribed standards of form and appearance, or formally acknowledged rituals or customs. In the United States, kiln gods are more often, than not, given the form of small fanciful figures or creatures that usually sport whimsical or grotesque features. Acting like charms or talismans meant to guard against all kinds of bad-luck, kiln gods are designed to protect the ceramists' fragile ware from all types of harm, including unlucky aesthetic problems such as glaze defects, which sometimes occur during the precarious final glaze firing. Furthermore, in the United States kiln gods, or kiln guardians as I sometimes like to refer to them, are usually spontaneously fashioned by potters from wet clay just prior to a kiln firing. Western kiln gods are most often displayed on the roof of a kiln just over the kiln door where they can “watch” over the firing, while the kiln gods of China are generally positioned in their own permanent Taoist or “folk religion” temple or shrine, that is always located near the kiln. Furthermore, in Chinese cities such as Jingdezhen and Hong Kong, kiln gods are worshiped and honored as important deities that help to protect the welfare of the entire ceramic community. Each ceramic producing city or region of China has its own local deity.