My sculptures are built hollow, using small slabs pieced together. I refine each piece with additive and reductive techniques. Since I don’t use an armature, I carefully support the work throughout the drying and firing process to prevent cracks, part loss, and warping. Clay supports are added for stability and discarded after firing.

After the initial bisque firing at 1,850°F, I apply various finishes. The piece is then fired again, typically at 2,170°F. It can take up to four firings to complete a piece.

Experimentation with the medium is key to my process. I am always learning from the clay.

Figures

Surface variation, texture, and gesture are the expressive avenues I use to depict the layers of complexity inherent in each of us. My work is influenced by the intersection of life experiences and perception. Individuals possess unique combinations of characteristics—physical traits, talents, motivation, beliefs, goals, and fears. Added to these are familial, educational, and cultural influences creating individualized life experiences.  I’m intrigued by how these life stories shape perception, ultimately influencing the interpretation of art.

Abstracted figures

Surface variation, texture, and gesture are the expressive avenues I use to depict the layers of complexity inherent in each of us. In this body of work, the figure is pared down to an almost vessel-like gestural body, recognizable as such only by the abstracted head. Through the subtle suggestion of a figure, the gesture becomes a narrative tool for personal interpretation and connection.