Artist Statement

Working within the framework of the functional vessel I am creating daily contexts for quiet contemplation.  Through subtle asymmetries and bold linear architecture I create dynamic forms that can be explored as much as used. Gestural arcs suggest barely restrained energy, like a blossom about to open or a bomb about to explode. Each piece hangs on the precipice of transition from one state to another. 

The work is rooted in certain foundational experiences of my youth. My architect father is also a skilled woodworker and his adherence to Bauhaus design principles are echoed in the modernism of my forms. The scathing critiques of any cup, bowl, or dish that didn’t live up to my Midwestern mother’s prudent functionalism inform the pots’ ergonomics and economy of form. Long hours of my childhood were spent in my dad’s woodshop carving rudimentary bowls and sculptures and even once turning a small cup on his lathe. Approaching the block of wood as a blank to be coaxed into a volumetric form bears an unquestionable resemblance to my approach to construction in clay.

My forming process is one of accumulation and reduction. I begin every form on the potters wheel, then alter and augment it with coils and slabs, before meticulously refining every line and surface with rasp and rib.  This process allows me to craft forms that are ergonomic, generous, and energetic with a minimum of line and surface adornment. Each piece is designed such that its overall form and spare detail lines suggest and bolster the mechanics of its function.

Firing in a wood-burning kiln allows me to add variation to the surface and to challenge the industrial reference lurking in the forms. As the molten ash accumulates and flows over the smooth surface of my pots it serves to emphasize the carefully crafted planes of the form. The fluid lines left by the licking flames of the kiln, and the variation intrinsic to this process, stridently resist the monotony often associated with modern design and give each piece a singular quality that befits the intensively handmade nature of the work.

Pottery serves as a means to connection. With every form I am inviting the user to turn their awareness toward whatever act the piece is facilitating. This could be something as simple and solitary as feeling the way water transfers from a cup to your mouth, or as complex as being absorbed in the process that turns dry grounds into delicious brewed coffee. Strengthening this connection to simple daily acts inevitably enriches the experience of living itself.