I make pottery that is intricately decorated and utilitarian in nature. It is important that each piece is approachable and highly functional to establish trust with the viewer and invite closer examination. As a student of history, I’m drawn to the essence of strength found in architecture, masonry, and work that has endured through time. Surface treatment provides me the opportunity to explore these interests through the subtleties of architectural pattern, detail, and geometry.
I use form and surface treatment to fulfill my desire to investigate trends from both the past and present and relate them to my work. The linear lines, planes, and dot patterns evoke a sense of strength and rigidity that are related to the designs and patterns of architectural elements that surround me. Sleek simple forms are a result of my study of mid twentieth century Scandinavian wares as well as objects made by the Shakers, both of which are traditionally characterized as having a minimal and clean surface and form. The division of the planes between clean and textured surface is a way to accentuate the details and form of each piece and provide points of rest. The application of detailed patterns on traditionally clean surfaces creates a historical contrast that is present in my work.
My background in the study of history provides me with insight about my own work in reference to larger historical context. I find it deeply satisfying to create objects that can be used and enjoyed. The ideas of continuity and progress throughout history fascinate me and inspire my evolving aesthetic.