Photo by Ryan Collerd, Courtesy of Pew Center for Arts & Heritage

Photo by Ryan Collerd, Courtesy of Pew Center for Arts & Heritage

I make process based ceramic sculpture and bright, dimensional paintings. My obsession with surface and materiality compels me to investigate the relationship between sculpture, painting and ceramics through the inherent qualities of clay and glaze materials. Beyond formal and aesthetic qualities, my work can be understood in relationship to abstract painting, minimal work, and Process Art. I exploit the intrinsic qualities of ceramic material producing works that are warm, seductive, and surprising. Ultimately, my work is a synthesis of expressive, intuitive surfaces and minimal forms. 

I consider each work as a painting that has form, I limit the complexity of the underlying, structural forms in order for them to serve as a dimensional, pared down, canvas. The linear edges and basic, stable forms contrast the vibrant activity and complex depth of the surfaces.

The Cylinders are circular paintings. When viewed in profile the cylindrical object becomes a flattened, rectangular plane. When approached the interior of the vessel is revealed, exposing the dimension of the object and the physical space it consumes. This dual perception creates a conceptual overlap between object and image. I am compelled to paint the insides of my cylinders with slips and glaze in part because it creates an awareness of this dichotomy but also because it creates new compositional viewpoints, and invites prolonged interaction with the viewer. I use form to reiterate the visual and psychological depth of the surface, which emphasizes the power and presence of objects.

The curved planes are more closely related to traditional paintings. However, the relatively flat, one-sided planes extend out from the wall in a large mass, activating the surrounding space. Their weight and physical presence underlines the fact that they are objects as well as images. There is physical and visual access to more than one side of the piece.

Some of my forms are fragmented or cut, which activates a sense that the piece came from a larger, more expansive form. When there is accidental breakage I respond by capitalizing on it.  The decision to further break, cut, and chip pieces provides formal resolution. Fragmentation of the work obscures the viewer’s ability to conclude how the work was made- even to somebody with in depth knowledge of ceramic process.

My aim is to create work that is scintillating and dramatic. The phenomenon of ceramic surface is always surprising me with new potential that becomes my motivation. I want to engage my viewers with visually striking work, which also contain subtle layers of meaning. In a successful work, the intrinsic qualities of the material are transcendent.

CURRICULIM VITAE