I make imaginary spaces.
I have always lived in a world of day dream, perceiving reality through a series of filters. Creating objects allows the imaginary to become tangible. I am able to show to others the language I have created, through which I engage in the world around me. In my objects, I have turned movement and fluidity into stone and stillness. Fragments come together to create something like an artifact.
Childish curiosity,
joy,
and deception.
I love surprises the way I love bubbles and heartbreak.
My current body of work functions as an exploration of intimacy and connection; meditating on the power of touch.
I have always lived in a world of day dream, perceiving reality through a series of filters. Creating objects allows the imaginary to become tangible. I am able to show to others the language I have created, through which I engage in the world around me. In my objects, I have turned movement and fluidity into stone and stillness. Fragments come together to create something like an artifact.
Childish curiosity,
joy,
and deception.
I love surprises the way I love bubbles and heartbreak.
My current body of work functions as an exploration of intimacy and connection; meditating on the power of touch.
artist statement
Through woodfired pottery and performative photography I suspend time; creating worlds in which I am the observed and observer. The researched and the researcher. I collect and I play.
Families of vessels are in conversation with communal action and rituals of food cultivation and subsequent abundance. Seeds are sown and nurtured, vegetation is harvested and stored, food is served and shared. There is containment, then there is service. In the work I balance gentle exploratory caresses with guttural and instinctive decisions. Unapologetic femininity reveals raw, emotive displays of longing and loneliness. My processes are unassuming investigations of beauty and destruction.
The performance is private, a dance between myself, my pots, and my camera’s lens. I indulge on abundance- food, my body and fruit; juices run down and stain my skin to record touch. I share the documentation, carefully curated windows into a vivid and poignant world. Conceptually and visually I am inspired by abandoned and decaying dwellings- sacred and ruined. Even while intact, the house can be a fragile and uid vessel- full of false stability. Our constructed worlds of escape are constantly under threat, the problems of everyday seeping their way into our imaged alternative realities.
I enjoy overcoming technical and logistical challenges that arise when working at a large scale. My building method in conjunction with choices made in clay body development, allow some of my work to be exceptionally lightweight. These light and airy vessels work in stark contrast with my choices to work solidly. Solid building allows for another opportunity to overcome material challenges.
The process of woodring shifts my practice from private to communal. I relinquish control and extend trust to my community. The sensuality and tenderness of my making methodology is contrasted by the erceness of the kiln.The process demands all of me- my body an extension of the objects. My tools, an extension of the hand.
My relationship with clay is deep. It is both romantic and empirical. Working with local and wild materials further deepens this connection. I am currently researching the use of glacial lake clays and shale local to the Hudson Valley as clay body additives and glaze material. Engaging with local geology sets my practice in space and time; the materials I use have existed long before me and will continue to exist long after I am gone.
Families of vessels are in conversation with communal action and rituals of food cultivation and subsequent abundance. Seeds are sown and nurtured, vegetation is harvested and stored, food is served and shared. There is containment, then there is service. In the work I balance gentle exploratory caresses with guttural and instinctive decisions. Unapologetic femininity reveals raw, emotive displays of longing and loneliness. My processes are unassuming investigations of beauty and destruction.
The performance is private, a dance between myself, my pots, and my camera’s lens. I indulge on abundance- food, my body and fruit; juices run down and stain my skin to record touch. I share the documentation, carefully curated windows into a vivid and poignant world. Conceptually and visually I am inspired by abandoned and decaying dwellings- sacred and ruined. Even while intact, the house can be a fragile and uid vessel- full of false stability. Our constructed worlds of escape are constantly under threat, the problems of everyday seeping their way into our imaged alternative realities.
I enjoy overcoming technical and logistical challenges that arise when working at a large scale. My building method in conjunction with choices made in clay body development, allow some of my work to be exceptionally lightweight. These light and airy vessels work in stark contrast with my choices to work solidly. Solid building allows for another opportunity to overcome material challenges.
The process of woodring shifts my practice from private to communal. I relinquish control and extend trust to my community. The sensuality and tenderness of my making methodology is contrasted by the erceness of the kiln.The process demands all of me- my body an extension of the objects. My tools, an extension of the hand.
My relationship with clay is deep. It is both romantic and empirical. Working with local and wild materials further deepens this connection. I am currently researching the use of glacial lake clays and shale local to the Hudson Valley as clay body additives and glaze material. Engaging with local geology sets my practice in space and time; the materials I use have existed long before me and will continue to exist long after I am gone.
about the artist
I first began my journey with clay at the age of four. With one set of grandparents working as middle-school art teachers, and another grandpa making a living as a potter and harpsichord builder, art was always a part of my life. While taking Basic Ceramics at The State University of New York at New Paltz, I fell deeply in love with the medium and knew I wanted more. I changed majors and graduated in 2015 with a BFA in Ceramics.
To read about my senior thesis, The Other House, Click Here.
In 2016 I accepted a residency at Taos Clay, in Taos, New Mexico. After the residency ended, I stayed in Taos for several years and set up a home studio practice. It was there I learned how to ski and wood fire.
I currently live and make work in Newburgh, NY. I work full time as a studio potter and teach at The Newburgh Pottery. When I teach a pottery class my goal is for every student to leave with an increased understanding and appreciation for the ceramic process. Clay is such a dynamic, exciting material and I relish every opportunity to share my passion.
To read about my senior thesis, The Other House, Click Here.
In 2016 I accepted a residency at Taos Clay, in Taos, New Mexico. After the residency ended, I stayed in Taos for several years and set up a home studio practice. It was there I learned how to ski and wood fire.
I currently live and make work in Newburgh, NY. I work full time as a studio potter and teach at The Newburgh Pottery. When I teach a pottery class my goal is for every student to leave with an increased understanding and appreciation for the ceramic process. Clay is such a dynamic, exciting material and I relish every opportunity to share my passion.
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Newburgh, NY
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