The only real "deep feature" I enjoy about my pots are that they are made by human hands. I personally feel a deep connection with ancient cultures by doing the same thing all of them have done.. making my own vessels, using them, and adding a deeper meaning to the monotonous daily activities most modern humans disconnect with.. such as taking a drink from a cup or eating soup.
An artist statement serves a lot of functions, depending on who is writing it, at what point they are writing it, and for what purpose they are writing it.
As a "student" of an art form, one potentially highly important part of the ACTOF WRITING such a piece is the fact that it forces you to start to formally think about what it is that you are doing. Why are you subjecting yourself to the trials and tribulations of this crazy field of ceramics . Working with clay can be mesmerizing and intoxicating and can all too easily sort of lead you into a "drug" induced theraputic stupor if you let it do that. Yeah... it's fun ("I play with clay.")
There is a somewhat famous saying in the ceramic art field that points to the importance of having focus and direction in your claywork: "A pot without a soul is just clay around a hole". I think that came out of Alfred in the 60's...can't tremember the source. Could have been Val Cushing.
A sports analogy: If you don't know where the goalposts in the game you are playing are, you'll never know if you get the ball through them. But YOU are the refreree in this whole game, and you get to set the rules of the game and the location and size of the goal. It is perfectly OK to change the location of the goalposts as the game progresses, but you should always be trying to "score". To do that, the game has to be defined as much as possible.
So in a sense .... there above in the part that I quoted from you is the very start of two things............
1.) You identifying the beginnings of the roadmap of where you want to go with clay. Where your goalposts are currently situated for your game. You are starting to define concepts and issues that are important to you, and that you wish to bring to your visual art works. Can you pin down the location of the goalposts a bit more by really delving into the "WHY" and "HOW" of your above statements?
2.) Your early career artist's statement.
Take those couple of sentences above and turn them into paragraphs and then pages. That is not for anyone else's consumption.... just yours. YOU need more information and detail than others do in this personal matter of developing you work. Then edit the crap out of that mess...... and try to distill it all down to the most important parts. Then clean up the "technical writing" aspects........ pretty it up. Once that is done, run it by others to see what they think for its use as an artist's statement.
But keep working on that "personal journal" part for the rest of your artistic life....let it evolve and get edited and changed. That will continue to lead you into the future of your work.
And also to your new versions of your public "artist's statement".