Adams approaches his ceramic practice with a perspective informed by his background in science—his resume includes degrees in organismic and evolutionary biology and he is a practicing dermatologist by day. He conceives of his entire body of work as a whole, in which each work is a member of a “family,” united by their physical characteristics. Every piece is made out of 18 appendages, attached in the same, symmetrical order. But there’s a sci-fi twist. Adams’s biomorphic figures play on biological concepts, and more specifically, on the idea of adaptive radiation—a process in which organisms are placed in a new environment and must rapidly diversify in order to survive. For Adams, his work encapsulates this process in action. Each piece he creates is conceived of as an individual, with a life force. And they convey a sense of evolution, as the sculptures seem to riff on one another; for instance, two works might share a similar form but differing colors.