Fullness and breathe of, and restraints on the body manifest in my work in different ways as my work progresses. Currently, I am drawn to elegant and plump forms with implied restraints in the use of lobing, which is the process of creating linear recesses on the surface. This lobing acts as both optical restraints and a sort of contour line of varied weight. Nature influences my work, somewhat formally, however heavily when choosing color palette. Nature, flora specifically, has the most rich, natural color combinations. The rustic, varied greens of the sepal coupled with the contrasts of the bright petal create a perfectly alluring object. That allure and sensual feel is intrinsically compelling. I relate with the tangible nature of pottery. The central draw is the tactility of the making process; at every step, my bare hands create most every mark. In this, the overall experience becomes transcendent and a relationship is formed with each piece. Furthering this tactility, I adore the notion that someone then gets to have, use, and from their own relationship with the very same pot. In this, functionality becomes essential. In firing my work, I use an electric kiln in oxidation. The nature of this method leads to shallow, but vibrant colors. It is my goal to create a surface that captures this vibrancy of oxidation, coupled with the depth achieved in more atmospheric firings. To accomplish this, I layer multiple glazes, applied with an airbrush, and use a technique called down firing in order to allow for slow cooling and crystal growth.
