My work is influenced by the dynamic movement and gestural qualities found in clay’s plasticity. I am drawn to the chaotic beauty of folds, wrinkles, and edges that emerge in response to touch. At the same time, I respect clay’s structural logic–allowing it to support itself and create form even as it bends and twists. My pots flirt with function and embrace sculptural vessels that prioritize being felt and seen.
I developed the surface of my vessels with hydrographic printing (water-transfer printing), altering the process to be compatible with ceramic firings. I’m fascinated by the physical and chemical interactions this process presents: the printed graphic wrapping around the form, while its chemical make-up creates depth and texture when fired. In this way, the surface becomes an extension of my building process, capturing an interesting dialogue between precision and chance.
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My work is influenced by the dynamic movement and gestural qualities found in clay’s plasticity. I am drawn to the chaotic beauty of folds, wrinkles, and edges that emerge in response to touch. At the same time, I respect clay’s structural logic–allowing it to support itself and create form even as it bends and twists. My pots flirt with function and embrace sculptural vessels that prioritize being felt and seen.
I developed the surface of my vessels with hydrographic printing (water-transfer printing), altering the process to be compatible with ceramic firings. I’m fascinated by the physical and chemical interactions this process presents: the printed graphic wrapping around the form, while its chemical make-up creates depth and texture when fired. In this way, the surface becomes an extension of my building process, capturing an interesting dialogue between precision and chance.
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