*Artist Statement*
Artist Statement
The objects I make are composed of two separate bodies of work: The first is a personal narrative, told through animal imagery, that examines the human condition. The second body of work is functional pottery, salt-fired and intended for use.
My work with narrative is deeply personal and a tool for me to make sense of a world that at times can be daunting, confusing, transcendent or beautiful. I use animals as a gateway into this narrative. As an artist suffering from severe rheumatoid arthritis, I work through a degree of pain both inside and out of the studio. Creating images that deal with this experience is a personal way for me to express emotions where words fail. Images give order to experience. The process of dealing with chronic joint pain has left me with an excess of impressions. The quantity and complexity of these experiences far exceeds my ability to communicate them effectively with words. Making art that that deals with blood work, swollen joints, or the emotional fallout of chronic pain provides a new language for me to process what is personal and at times defining. It is my hope that this work continues to mature and expand in subject matter.
My other area of interest is functional pottery. Pottery bears a silent witness to our everyday domestic life. Whether a cup is raised in celebration, a mug of coffee is held in the middle of the workday, or a plate of hot food is offered when nothing else will do, functional pottery remains relevant in our everyday lives. The poet David Whyte said, "Attentiveness is the hidden discipline of familiarity." My pots ask for attention and in turn, a relationship is established. This familiarity leads to intimacy. Pots are used in the home and the objects we live with, in their small ways, enrich life. The objects I make are not complicated or difficult to process. I am interested in surface decoration and making straightforward vessels that are sturdy, masculine, and graceful. Like a set of work boots or favorite pair of jeans, my pots are built for easy use and intimate comfort.
The process of throwing, decorating, and glazing is an action that provides a meditative experience. Like all crafters, this flow in the studio fascinates, humbles, and satisfies me every day.
The objects I make are composed of two separate bodies of work: The first is a personal narrative, told through animal imagery, that examines the human condition. The second body of work is functional pottery, salt-fired and intended for use.
My work with narrative is deeply personal and a tool for me to make sense of a world that at times can be daunting, confusing, transcendent or beautiful. I use animals as a gateway into this narrative. As an artist suffering from severe rheumatoid arthritis, I work through a degree of pain both inside and out of the studio. Creating images that deal with this experience is a personal way for me to express emotions where words fail. Images give order to experience. The process of dealing with chronic joint pain has left me with an excess of impressions. The quantity and complexity of these experiences far exceeds my ability to communicate them effectively with words. Making art that that deals with blood work, swollen joints, or the emotional fallout of chronic pain provides a new language for me to process what is personal and at times defining. It is my hope that this work continues to mature and expand in subject matter.
My other area of interest is functional pottery. Pottery bears a silent witness to our everyday domestic life. Whether a cup is raised in celebration, a mug of coffee is held in the middle of the workday, or a plate of hot food is offered when nothing else will do, functional pottery remains relevant in our everyday lives. The poet David Whyte said, "Attentiveness is the hidden discipline of familiarity." My pots ask for attention and in turn, a relationship is established. This familiarity leads to intimacy. Pots are used in the home and the objects we live with, in their small ways, enrich life. The objects I make are not complicated or difficult to process. I am interested in surface decoration and making straightforward vessels that are sturdy, masculine, and graceful. Like a set of work boots or favorite pair of jeans, my pots are built for easy use and intimate comfort.
The process of throwing, decorating, and glazing is an action that provides a meditative experience. Like all crafters, this flow in the studio fascinates, humbles, and satisfies me every day.
