Statement
The fundamental context of my work is the body. I recognize clay as a domestic material and aim to partner clay with the body in exploring human stories and experiences. I design performances, social engagements, and installations as moments that bring my audience into physical contact with the work. My forms are not complete without the presence of a body to touch it, to participate in its existence. These pieces often take the shape of symbols that contain both universal and personal references: an egg to remind of potential life; a mirror to encourage reflection.
My practice is greatly influenced by my training as a utilitarian potter, which informs the treatment and understanding of my primary medium. The most humble clay vessel is made to serve another. Potters have knowledge of how the human body fits in: how a hand holds a handle; how your bottom lip presses itself below the rim of a cup. The vessel is shaped to serve a specific context and function for its human partner.
The physical labor of my ceramic processes requires investing my own body in the work. The shape and form of my body responds to what I make: objects that are themselves intentionally shaped for others. This dialectic inspires me to further explore how individuals can be shaped by their environments.
My practice is greatly influenced by my training as a utilitarian potter, which informs the treatment and understanding of my primary medium. The most humble clay vessel is made to serve another. Potters have knowledge of how the human body fits in: how a hand holds a handle; how your bottom lip presses itself below the rim of a cup. The vessel is shaped to serve a specific context and function for its human partner.
The physical labor of my ceramic processes requires investing my own body in the work. The shape and form of my body responds to what I make: objects that are themselves intentionally shaped for others. This dialectic inspires me to further explore how individuals can be shaped by their environments.