About the artist-

As a child, the Wyoming desert night sky was illuminated with countless stars, back-lit by the glow of the milky way. This cosmic expanse juxtaposed against the seemingly empty high plains was my first insight into conflict of thought. As it became my constant companion, its vacant darkness allowed for witness of celestial mechanics as a persistent reminder of motion and repetition.

As a ceramic artist, the center point of my practice revolves around handcrafted utilitarian wares. It is my belief that handmade objects, especially when used for an intended purpose, will increase the quality of life of the users. 

Recreating antiquated ceramic wares is a straightforward albeit complex task. While the control offered in modern firing practices makes it possible to achieve a multitude of results from the same firing chamber, it is that same control which can unintentionally eliminate the sought outcome. The missing element that can be attributed to chance, in theory, cannot be artificially reproduced. However, if chance is probability, and chemistry is a known variable, then study and insight can offer a comparable avenue to what was once the unknown.

Once base research has been established, one can then manipulate variables to alter results. Following traditional processes while making alterations to materials has become a way for me usher utilitarian vessel-making forward. 

My research around the ceramic vessel tends towards one of two things- “Is it possible for modern processes to reproduce what was once considered standard?” and “Can present-day materials amplify what is a known outcome?” The second is an avenue of research that can only be explored when understanding of the first has been developed. The former serves to bring forth ancient works into a modern setting, and the latter offers a path at carrying these traditions forward.

Statement-

Movement in clay exists as a physical record of thought and intent. Surface and form act together as an indicator of the method in which they were made. Continuity of research and repetition, when coupled with thoughtful experimentation often leads to discovery. As both a conductor and a catalyst, clay yields a deep connection to historical hand-making traditions, as well as a means to propel said traditions forward. My studio practice revolves around the formal study of these processes as a leaping point to further potential exploration.