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Ceramic history plays an influential role in my work: its forms, its processes and its domestic and cultural evolution. Functional and sculptural forms ranging from centerpieces and oyster plates, to tulipieres and figurines, are revisited, revived and re-contextualized.

My work alternates between creating ceramic objects for the home and making pieces that comment on the role these objects play in the domestic environment. I’m interested in how ceramic pieces can be humble forms born out of necessity, and at the other end of the spectrum, decorative and decadent. My work deals with how forms, imagery and information are borrowed, disseminated and recreated across cultures and time. While grounded in the history of the ceramic tabletop object, the work subverts idealizations commonly associated with the forms they reference.

A constant in the work is an exploration of the material qualities of clay, glaze and other media. I’m interested in how ceramics can record its own creation, how a moment in time can be captured in a gesture, a throw line, or in a glaze drip. Traditional techniques are often combined with craft store materials and other mass-produced media. Within the work the centuries lost Roman formula for terra sigillata gets placed next to glitter from China, the historic majolica glaze, invented to try to make earthenware look like porcelain, is layered with commercial hobby glazes, zirconium encapsulated colorants, tape and cut up floral decals from eBay.

Pieces simultaneously embrace and reject the history of the ceramic object. I am interested in creating work that, while evocative of its ceramic heritage, is something new, is something other, something modern and fantastical.

Artist Statement
2019