My work is inspired by the graphics and pottery of the Arts and Crafts movement, by the abstractions of flora and fauna in 19th Century natural history book illustrations, by fractal geometry, and by my family’s interest in botony and land conservation. I am interested in exploring the aesthetic tension and harmony between the natural and the manmade by juxtaposing fossil-like prints of natural botanical specimens with a heavily textured repeated point pattern at the rims and bases of my pieces. Though the botanical part of each piece is the most “natural”, it is glazed with a highly glossy transluscent celadon, where the “manmade” part of each piece is simply rubbed with a red-iron oxide wash, leaving a rough, groggy surface. I throw most of my stoneware very thin, and pull delicate, twisted handles and knobs. When glazed in my temmoku black, the handles and rims of my pieces are often mistaken for iron, belying the actual delicacy of the stoneware.
Each of my pieces begins with a walk in the mountains and woods of Albemarle County, where I gather wild plant specimens. All of my pieces (except tiles) are wheel-thrown, using a buff-colored stoneware clay body. I carefully arrange and press plant specimens into the wet clay, then paint a white porcelain slip over all. The remaining impression in the clay resembles a fossil. Knobs, handles, and feet are hand-pulled from stoneware. I use my own glaze recipes: temmoku black, copper ash, amber celadon, and blue celadon. I fire my work to cone 7 in both reduction and oxidation atmospheres.
Professional Distinction: Commission/Custom Work, Consignment/Retail, Wholesale Production