Driven by materiality, color, and movement, I make dimensional paintings and abstract sculptures out of ceramic and glaze. I exploit the transformative characteristics of ceramic material, resulting in bold and sumptuous work. With a direct sensibility, I communicate through formal and aesthetic qualities. Ultimately, my work is a synthesis of expressive surfaces and elemental forms.

I work on simple ceramic forms that serve as a canvas for glaze, where linear edges and underlying shapes amplify the vibrant activity and complex depth of each piece. There are added intricacies that arise when painting in a three-dimensional format, like a drawing that wraps around a corner, or glaze that is pulled through a composition by gravity. Sometimes the surfaces look weathered and aged, but at the same time appearing colorfully lush and wet. Additionally, there is a sense of action and immediacy to the mark making, which is complemented by moments of serenity in rivulets of flowing glaze.

A critical investigation for me lies between technical mastery of ceramic material, and completely letting go of the control I have worked so many years to understand. As a process-based artist, I find meaningful content in the planned order and organic changes that arise. Sometimes my work is cut apart, broken, or fragmented. Often times this action is accidental from a crack or explosion during firing, but then resolved by an intentional choice to leave those areas exposed. Lately, I have combined parts of works from different periods of time, firing them together into new work, but leaving traces of their origins as individual pieces. I let the character of the material guide my decisions.

In my most recent series of work, I overload the forms with glaze. During the firing it melts, cascades, and flows into hypnotic rivers of color that pool and spill over the edge; glaze is the subject of my work. Furthermore, I am captivated by the potential of glaze as an abstract medium, because no matter how well I understand it, I never have complete control of how it will turn out, transformed by both time and temperature in the kiln– not by the direct action of my hand. Guided by informed intuition, I experiment with expressive abstract painting and the phenomenon of ceramic process. While each viewer will relate to my work in a different way, the formal language of color, movement, and contrast are meant to engage people in a contemplative, visually charged experience.