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My work captures and reveals the patterns and textures of my rural landscape. Each piece chronicles the seasonal cycles of growth and decay, as observed through a carpet of leaves in the woods or the contours of a freshly plowed field, serving as a reminder that our environment is constantly changing, yet resilient. 
As a trained journalist, I view my ceramic work as a record of interactions with my surroundings and the impacts of pivotal family relationships. My mother was an accomplished seamstress and musician. At an early age I became intrigued by the designs of the patterns and fabrics she used. My own studies of music imprinted a sense of cadence and harmony. My father was an exuberant craftsman in many disciplines, who taught me to appreciate the beauty of good design, such as the Airstream trailer and an anvil storm cloud. These influences have made their way into my work.
I strive to make functional pieces that are elegant, yet comfortable for use and inviting to the touch.  My work celebrates the historic ceramic tradition of employing decorative botanical themes, while making an intimate connection to my surroundings. The raw piece serves as a canvas to build imagery, layers, textures and color. Atmospheric firing gives a rich, aged quality to the clay’s surface. It adds an element of surprise, challenging me and ensuring that each piece is lively and unique.
The process
My pieces are primarily wheel thrown and altered light stoneware. Multiple decorative techniques are used. Resists - primarily wax brushwork - are applied between layers of engobes, underglazes and reactive glazes. The top layers of glaze pull away from the waxed areas, revealing the layer underneath (similar to batik or egg decorating techniques). The pieces are fired in a gas kiln to cone 10 (approx. 2340F) in neutral atmosphere. I also participate in several soda and wood kiln firings per year. 
Photo May 12, 1 21 24 PM.jpg
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