I work intuitively, shaping clay through a dialogue between hand and material. Trained in traditional ceramics, I concentrate on alternative firing—primarily wood firing and raku—using atmospheric processes to activate reactive glazes and record the kiln’s traces as part of the work’s surface and story.
My practice begins with a pinch-pot—a primordial, spherical form—that I transform through geometric drawing and subtractive carving. Compositional fundamentals (balance, positive/negative space, form, and surface) guide each decision, while color choices draw loosely on Josef Albers’ color theories. The result is a purposeful tension between the organic, additive body of the pot and precise, geometric intervention.
Conceptually, my pieces bridge utilitarian craft and contemporary sculpture: they map a lineage from primitive pottery to modernist sculpture, referencing mid‑20th‑century architecture and graphic design. The atmospheric firing finalizes the aesthetic of each work—raku producing bold color, white crackle, and matte blacks; wood firing revealing flame flow and kiln ash as permanent evidence of transformation.
I embrace an intuitive workflow (rather than preplanning), allowing each stage to inform the next. The work investigates cause and effect—how environments, actions, and time leave their marks—and strives to reconcile opposing forces through balanced form and surface.
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