In fired clay, the process of making is captured permanently. The lines left in the clay from pulling up the lip, little bumps that happen during the process, an accidental scrape on the surface all tell a story of everything that went a pot’s making. Just by looking at a piece I’ve made I’m drawn back into the memory of its creation. I find this contrast between the malleability of wet clay and the permanence of fired clay very appealing. The small imperfections of handmade functional objects create interesting stories that help to slow down the daily routine. Drinking coffee in the morning out of a handmade, thoughtfully-designed mug or eating dinner out of a handmade bowl adds so much beauty to my day.

My focus is on designing and creating aesthetically pleasing pieces for specific functions with an eye toward allowing the process to be visible in the end product. Incorporating the malleability of clay into each step of the process including glazing allows for an interesting contrast between fluidity and permanence. This interest has led naturally to experimenting more recently with atmospheric firing techniques which further emphasize this contrast by creating a record of the firing on the surface of each pot.

Most of my current work is made right in my living room, where I have a small corner set up as a home studio. I let my work dry and then (carefully) transport it to my local studio for bisque and glaze firing.