My mobiles and sculptures are best viewed while revolving, providing continuously changing views of the interplay of light and shadow from the varied shapes and openings in the constructions. I find the slow movement soothing and relaxing.
I often begin a new piece with no definite idea in mind. Instead, I cut a few pieces of cardboard (old cereal boxes work nicely) or other firm material, and join them together. Then I put on a music CD or book-on-tape to distract the too-critical part of my brain, and continue adding more cardboard pieces and other media (such as wire, wood, fibers, feathers, etc.), letting the work almost build itself.
Then I give it a few days' rest before beginning a critical examination of it, adding, subtracting, changing parts and, in general, critiquing the design. When I'm pretty well satisfied I give it a good coat of gesso, which provides a nice base for the clay to adhere to. My mind at this point is constantly occupied with thoughts of how to proceed: color, texture, pattern, etc. A title/subject may occur to me during this process, but if it doesn't, that's OK too. My overall aim is to provide a sense of peace and calm, achieved by watching the interplay of light and shadow and positive and negative spaces, rather than to depict familiar or recognizable forms.
I use polymer clay as my medium because of its incredible versatility: it adapts itself to an infinite variety of visual possibilities. It is permanent and stable once fired.
The two main artistic influences on me have been Alexander Calder and Louise Nevelson.