To participate in artful pottery making is to balance on a temporal tight rope. On the left is the past which offers a historical inheritance so rich it is as though civilization began with pottery. On the right are the contemporary movements that hint at what lies ahead. I outstretch my arms and open my heart in this cluttered space. I sway to find balance in search of making meaningful domestic objects.
How do you make in a culture that has more and more stuff with less meaning? In my studio I ponder the proclivities of the uniform consumer as I create pots that are designed to disrupt the normality of it all. I create visual puzzles within functional mugs or jars to give way to the potential of a moment. I develop color to entice and dislodge in vessels that resonate with utility. I build layers of visual and tactile information as an allusion to the excavation of an experience.
As I wonder about the connected qualities of materials, I pursue entanglement of my vessels with each other and themselves. I set up parameters in my practice in search for points of contact, syncopation and displacement of pattern. The marvelous function of pattern to inform all awareness and perception is the foundation of my interest in the mishmash of motif.
The structure of my methods are devised to leave room for an element of improvisation. An unpredictable element can provide fresh input from the action of making. Traces of my process are left to materialize these moments and to record a physical memory. I forget my direction, however, to respond to the unintentional.