I am interested in exploring the dividing line between utilitarian and sculptural ceramic works. My work intentionally exists in the middle ground between these two definitions and bridges a gap between functional pottery and ceramic sculpture, as the work is made with function in mind but focuses more on the aesthetics of composition, form, texture, color, rhythm, balance, motion, and visual tension.
Much like the Memphis Group movement of the 1980s, my work also incorporates asymmetrical shapes, awkward geometry, and bold colors. The work of this period was seen as “bizarre” and “misunderstood” by critics of the time and, I believe there to be a connection between how society viewed the work of the Memphis group to how viewers may approach my work, as it is non-traditional.
My work also incorporates drawings, prints, and painted designs that are meant to guide the viewers eye around the pieces and create an experience of travel. I am constantly inspired by travel and the self-growth that comes along with changing your environment and therefor altering your perspective, observing drastically different paces of living in rural and urban communities, and being completely immersed in the rhythm of a new place. So, by purposefully placing compositional elements like block colors, line, and simple geometric shapes, I am able to use non-specific focal points which act as destinations for the eye to rest. As you view the work you pause briefly when noticing these focal points, and then the stretching lines guide your eye to the next shape, causing you to travel the piece visually.
I make the bulk of my work using thrown ceramic forms and then pinching the surface, altering it by darting, or adding pinched coils. I intentionally leave the bumpy, pinched, and sometimes cracked surfaces on the work not only to embrace imperfection, but also to celebrate it.