I am captivated by the relationship between ceramic vessels and architecturally-inspired structures. My goal is to create a variety of abstract compositions that are both visually stimulating and functionally engaging. Through the act of fitting, placing, and interacting with forms and surfaces, I explore the interplay between design, function, and accessibility. These interactions, in turn, invite a deeper exploration of how we navigate and experience space, both visually and physically.

 The structures in my work serve as both tangible and conceptual support systems for my ceramic vessels. While the vessels can exist independently, their connection with the structures is revealing. The massive, geometric foundation of the structures contrasts with the soft, cylindrical nature of the vessels, mirrors the relationship between architecture and human experience. However, when placed on a seemingly stable surface, a vessel may subtly shift. This movement draws attention to how we, as humans, navigate and adapt to spaces that may not fully accommodate us.

 The tiles (or three dimensional wall sculptures) within my work use a visual vocabulary that resonates with both my structures and vessels. As they emerge from the wall, they also become a new idea, resulting from the fusion of these two elements. They embody the historical role of ceramics in architecture, as tiles were the area in which ceramics was first used to enliven buildings. Traditionally crafted by potters, tiles have long served as both decorative and functional components, enriching architectural spaces while being protected by the very structures they adorn.

 This historical connection between ceramics and architecture inspires my use of digital fabrication alongside traditional hand-building methods. By integrating old and new mechanisms of working, digital fabrication in tandem with the hand-building process, allows my work to highlight dissimilarities while finding ways to connect their potentials. The digital fabrication process within my work allows for more form manipulation that corresponds with the language of architecture and design. C.A.D. (Computer Aided Design) software allows me to develop a design for a plan. Through a series of planes, segments, and shapes, my designs are thought out and redrawn across a constructed grid. This designing process also corresponds with the surface application on my cups. What once was a grid, is now deconstructed. Each line is intuitive yet intentional. I am creating a plan, a system, a blueprint that activates the entity of the architectural structure. I am both the designer and the artist.  

I am interested in pottery as a means of entry to an experience. Like architecture, a pot solicits interaction, not just viewing. The meaning of the vessel changes through experience, gaining content through use. By exploring the intersections between craft and design, I hope to enhance the art and act of dining with an emphasis on interaction, intention, and play in each piece’s form and surface.