Clay is a medium of endless possibility, capable of embodying both malleability and permanence. The earth and clay offer endless exploration of forms and surfaces.

I am working to finding a balanced form emulating the way a naturally formed object is nearly perfect but contains imperfections such as a dimple where a stick pressed against an apple or nibble marks from a beetle. When I walk in the prairie near my home I observe forms such as goldenrod fly galls, milkweed seed pods, egg shells and rocks, with their bulbous undulations, indentations and wear marks. My work intentionally allows the maker’s hand to be visible, like an insect chewing a seed pod leaving a line in its wake.  

My clay fires to a warm brown hue, like suntanned skin. I experiment with surfaces, adding texture and burnishing and often prefer to leave the majority of a form unglazed or treated with iron oxides. These surfaces emulate tree bark or a stone that has been tossed about in the waves. My vessels feel a bit worn and explore the ways time and pressure exert force combining to effect form and surface. The glazes that I work with reflect colors found in moss, lichen and stone. My work requires quiet contemplation inviting users to engage with the tactile pleasure of the everyday.