Welcome

Statement

My practice is founded in a conversation with clay—its elasticity, memory, and responsiveness. I approach the material with a sense of curiosity and collaboration, allowing its inherent weight and plasticity to guide my hand. Through both wheel-throwing and sculptural hand-building techniques, I explore the thresholds between structure and collapse, control and spontaneity.

My sculptural works emerge through a coil-building process that layers, molds, and twists clay into forms that appear suspended in motion—caught taunting gravity. These pieces often emphasize gesture and weight, embodying a quiet tension between material’s natural language and my intrusive manipulations.

Wheel-thrown vessels begin with attention to clarity of form. Walls are pulled thin enough to respond to every remark, every subtle shift of pressure. Precision is then challenged. I intentionally push these forms to the brink of their limits. I stretch the walls until the clay wavers—catching a moment just before collapse. These wares hold the memory of every thrown object which has come before it and paves a path for everyone after. Vessels foster intimacy. They ask users to hold, to adjust their grip, to support at points of balance. In this archive, the subtlety of every touch is recorded.

Works are born through atmospheric, experimental firing processes—wood-fueled and soda-glazed environments that impose flashing tones and blistered textures, visible and tactile traces of inferno and vapor. Their surface is finished in a collaboration between my hand and the flame in an unpredictable joining of heat and atmosphere. Objects serve as a site for both individual studies and collective evidence of clay's memory—recording encounters with fire and conversations with material that can never be repeated.