ABOUT

While I am in the studio making, I am often imagining how they will be used. The weight, edges, balance... My work is the stage of a beautiful meal, or that much needed cup of coffee. To make a good pot takes careful planning and thoughtful consideration. Pottery has been at the core of my work from the start when I first worked with clay as a sophomore in high school. School had never been a place of confidence as a shy student with dyslexia but I found joy and leadership through my making and sharing. Over time I have practiced and gained the knowledge and ability to take clay and transform it into precious objects that are collected, admired and used.

When I am at home in the kitchen I pay attention and learn from my interactions with the many handmade pots as well as industrially designed forms such as my sturdy cast iron or practical Pyrex. Often I find myself critiquing or assessing how my work participates in the everyday: the platter presents the main course or my pitcher pours the next round. My forms and decisions are intertwined with the reality of living. 

My surfaces are decorated with a range of floral and botanical designs that are stylized interpretations of flowers I know from growing up gardening, identifying wildflowers on my daily walks with my dog, and seeking out inspiration through travel and research. The designs are applied to the surface of the pot in the form of multiple cone six glazes that are strategically mapped out and applied one at a time, considering their many subtle qualities such as color, sheen and viscosity. I don't see the colors of the designs until they are revealed when I open the glaze kiln- here I appreciate the hours of work and see how chemistry and gravity has added to my design, shifting lines and adding magical moments of in the chemical glaze interaction.