In my life I work with clay and gardens. The two aren’t so different, both being a sort of quiet collaboration between the hands and the earth, both being bound up in time. What begins as a mountain erodes and weathers and ends up soft and responsive to a human touch. Fired in a kiln, the clay returns to stone, but alive now as the vase that holds the flowers, or the bowl that holds the soup.

I take inspiration from ancient pottery, sleek midcentury design, and an attention to the natural world and the materials it provides. My pots are quiet, rustic, and simple. Variation in the surface comes from the wood ash or the liquid quality of glaze breaking over carved clay. I hope that my work brings a sense of quiet dignity to the home and the rituals that take place within it.

I currently have two bodies of work that are in conversation with one another:

In one body I explore woodfiring and wild clay. Making work in this slow, specific, and utterly distinctive manner draws me in. It feels collaborative: working with the land to dig the clay in which I also grow my garden, working with wood and flames to vitrify and decorate the pots with melting ash, and working with a team of humans to achieve the monumental task of loading 1000 pots and firing them with wood over the course of 3 days.

My other body of work explores form and decoration through glazeware. Through electric or gas firing, I’m able to work through formal ideas faster and bring a decorative, graphic quality to my pots through the use of wax resist and oxide washes.