Statement

Touching clay is about exploiting a moment that is soft, malleable, and full of potential. Touch reflects the thrill of living and the connectedness of the body with the mind. Completed utilitarian forms become artifacts of contemporary society and a physical embodiment of memory. Being a functional artist in the modern word is a pragmatic balance between the knowledge that a handmade object won’t change the world, but can stimulate dialog, thoughtfulness, and mindfulness. Because handmade objects are hopelessly inefficient to produce, making and using handmade objects encourages the radical ideal of valuing the individual above the corporate. It is important to me that my ceramic work retains unrefined elements. This creates a quirky rawness that delights in being handmade, and questions the solutions of utilitarian commercial wares. One-of-a-kind objects have the power to bring interest, character and idealism into our actions. I am drawn to the history of ceramics, and intrigued by the variety of objects various cultures have made in the past 30,000 years. These objects give us important clues about what past people valued, and how they spent their time. The cups, flower bricks, plates, etc. that I make merge with clay’s long history in a continuation of a time line of people and culture. The various motifs I draw on my ceramic work bring personal narratives to the pieces. As I repeat forms and imagery, I look for new solutions to how line can give meaning to an object. The outlined shapes begin to take on a life of their own as I layer experiences from my life with questions about society, relationships, and lifestyle. I understand and embrace that my clay work is a part of a larger history. The methods I use are subtle variations on processes that have been employed for thousands of years. Respecting the past while focusing on the present allows my work to serve as a reminder of the importance of history, memory, and experience.

Main Gallery About Statement Contact