"I was going crazy with all this flat work, so I needed to build up," Romeo says of this series (pictured in various stages of completion). The "painstaking" process primarily revolved around clay scraps. Romeo would simply grab a piece and start wrapping it around the work, and letting those leftovers determine how large the sculpture would be.
"It was a slow process of joining bits of clay," she says. "But it was meditative." She played with the glaze to make the color as close to rock as she could. When laid on too thick, it can take on a greenish hue.