Statement
My work is rooted in an ongoing fascination with nature, specifically the systems and processes that govern living things. With a background in biology focused on evolution and ecology, I approach ceramics as a way to visually explore relationships: between mind and body, humans and the natural world, organisms and the environments that shape them. Rather than illustrating scientific concepts directly, I use abstraction to suggest these dynamics, allowing form, texture, and gesture to represent growth, adaptation, and interaction. I hope to stimulate the viewer’s imagination about what natural phenomenon they might be observing.
Clay feels inseparable from these ideas. It is literally earth, and working with it becomes a reciprocal act—molding the material that, over time, molded us. I am drawn to its plasticity and the way it records physical touch, preserving evidence of movement, pressure, and decision-making.
In my functional work, I see pottery as an extension of the primal acts of eating and drinking. By altering simple forms and embracing irregularity, I aim to elevate utilitarian objects into tools that engage viewers on an emotional level. I want these objects to feel alive—rather than manufactured—inviting a more conscious, tactile connection between the user and the object.
Process
My process is driven by repetition, improvisation, and an ongoing challenge to my technical and physical relationship with clay. When throwing on the wheel, I typically begin with straight, even forms. These initial shapes act as controlled starting points rather than finished objects. From there, I disrupt that control—altering surfaces with my hands, tools, and found objects to introduce variation, texture, and evidence of touch.
For sculptural work, I rely on repetitious, improvisational assemblage. I pull “thrown” slabs that are later torn, reassembled, and altered, allowing the final form to emerge through accumulation with little pre-planning. Handbuilding clay in this way is inherently challenging which I enjoy. This method mirrors natural processes, where complexity arises through repeated actions and small deviations over time.
While I have a strong interest in science and technology, I intentionally avoid incorporating too much of it directly into my making. I am not interested in perfection or machine-like precision. Instead, I favor traditional techniques and physical engagement, letting my hands guide decisions in real time.My process embraces variability, movement, and subtle change. I allow each repetition to become both practice and discovery, leaving behind a record of interaction that ultimately defines the finished work.