My work investigates contemporary ceramic artists in order to understand aesthetics and motives involved with creating their work.  I then produce work intuitively; making quick decisions based on whatever first catches my eye.  I evaluate my work using analytical critique, with 2 underlying goals: 1.) defining a common language between my own pottery, sculpture and installation, and 2) defining the role of function in my pottery.

I am interested in exploring the role of handmade pottery in today’s world.  Industrialized ceramics has eliminated the need for handmade wares, so the potter has redefined his/her place in society by creating an artistic visual language through production of handmade, utilitarian vessels.  In that case, why make utilitarian vessels?  I believe the ability to eat and drink from functional pottery creates a heightened sense of approachability to the work, allowing viewers to develop relationships through active participation.  I address this issue through emphasizing certain handmade qualities of wheel thrown pottery, often in reaction to the cleanliness associated with industrially made pottery.

My work is also influenced by the natural world, like undulating horizon lines and various organic shapes.  My most recent pottery has adapted a more balanced, symmetrical representation of nature, like the spiral of a nautilus shell.  The pottery also achieves colors and surfaces that convey similar earthen aesthetics.

I enjoy surfaces that create a rustic, earthen feel while maintaining color diversity and vibrancy.  I also encourage approachability to my work through complex, yet inviting surfaces.  I striving for colors and textures so enthralling they affect viewers unconsciously, sparking immediate attraction upon initial exposure to my work.

I have adapted a form of “Sagger” firing by placing pottery in piles of mixed wood ash and heating to roughly 2200 degrees F in a natural gas-burning kiln.  Over the course of about 35 hours, the wood ash reacts with the clay and wood ash based glazes, absorbing into the bottom portion of a pot and often producing bright blue hues.  This also results in rough textures that are rich in color, separated from the smooth, glazed top by a wandering line of color.  I often use this technique for firing raw clay pots, so additions of salt are introduced at peak temperature.  The salt floats through the kiln and melts clay at the top of the pots in order to achieve contrasting surface textures.

Another firing process involves heating pottery in at atmospheric glaze firing to roughly 2400 degrees F and then introducing a mixture of salt and Copper Carbonate, which floats through the kiln at peak temperature and lands on the pottery.  All pieces are glazed with wood ash based glazes, which accentuates the earthen, rustic qualities that result from this firing technique.  I place pieces in the kiln based on predictions of how the salt and Copper Carbonate will unevenly cover the surfaces, deduced from previous firings and experience firing in wood burning kilns.

My last firing technique involves an attempt to retain small imperfections and rustic qualities with non-atmospheric glazes.  I fire in a gas-burning kiln to roughly 2400 degrees, often experimenting with oxygenated or gaseous firing environments.  I fire with almost entirely wood and straw ash based glazes in order to retain small imperfections; iron spotting, formation of hares in the glaze, thick and thin drips, areas of carbon trapping, and additions of iron stain. 

Many of the earthen, rustic surfaces I desire can be achieved by firing in wood-burning kilns, where ash and flame color pieces throughout the natural course of the firing.  I hope to return to wood-firing when my situation allows, but for now I have found refuge in the rustic colors and surfaces obtainable through the use of natural materials and ash glazes in gas-burning kilns.