As a potter, I work within a functional format and am informed by the rich history of ceramics. At its best, my work reflects upon these vast traditions and adds an interesting layer. I strive for my pieces to transcend their utilitarian boundaries and to function equally as sculptural elements. I am interested in composition, surface, and craftsmanship as well as utility, and for the combination of these elements to create a dialogue between maker, user, and object.
Form remains primary in my exploration of functional wares, but I am constantly excited about finding balance between form, function, and surface. My inquisitiveness leads each pot I make to inform the next. The new and exciting information I gain from each kiln load influences the subtle changes in the next group of wares. Even in the earliest stages of my process, both form and surface are considered. My pots, organic in form, and are contrasted with the movement of subtle lines and folds. The lines, folds and curves that compose my wares are informed by the potential surfaces that a simple pallet of slips, glazes, and soda firing can create.
Soda firing can create surfaces that are dramatic and complex, yet simple and pleasing. Working with only a few flashing slips, allows for the firing process to paint the wares with blushes of color and a variety of tactile surfaces. The volatile soda fumes accentuate edges, lines, and change in form, often giving dramatically different surfaces to each side of the wares.
The formal combination of balance, line, volume, proportion, and surface allow for an infinite number of conclusions. My goal is to find a resolution that has a strong visual presence and emotive impact on the user. In the end, whether my wares are held or is sitting on a shelf, I would like their presence to be felt.