The majority of my studio practice is given over to the production of tableware and other domestic objects. I prefer the uncomplicated, but sophisticated character of plates, bowls, cups, and serving dishes. My forms focus on creating a space for their intended use as well as acting as a canvas for patterns. My form vocabulary is culled from historic and current ceramic art, contemporary design, and my own few novel additions.
The remainder of my process is dedicated to developing surface decoration. I use pattern as a means of exploring the nature of abstraction, representation, and beauty. What is most compelling about the use of pattern is that its meaning can be elastic and fluid, it requires only one small graphic element used in repetition to become something greater that the sum of its parts. Many of the motifs I use are adapted or interpreted from textiles such as Japanese kimono, quilts, and other historic craft media. In addition, I borrow from non-ceramic sources like WWI era razzle-dazzle camouflage, mid-century abstract expressionism, and pattern structures in nature.
I appreciate the constraints of working in one material, with the declared outcome of making objects of utility. Within those limitations I search for a sense of beauty, self-expression, and common experience.