My ceramic practice is rooted in traditional hand-building techniques—slab building, coiling, and solid construction. These methods support a controlled, process-driven approach and a direct engagement with form.

I lose track of time when I sculpt. It is a focused state that has become therapeutic and an integral part of my practice and daily life. I rotate between different clay bodies, allowing the material properties of each to inform construction and surface decisions.

I am trying to make each piece speak, or remind the viewer of something we hold in our core. Figures emerge through an iterative process, defined by shifts in proportion, posture, and orientation. Forms are built incrementally and refined using hand tools and found materials. Surface texture is developed through direct manipulation and imprinting.

The work includes figures such as guardians, matriarchs, angels, and queens. Surfaces are finished with layered oxides and glazes to achieve a resolved, cohesive result.

In 2015, I founded Pugmill Society, a collective of eight ceramic artists based at Equinox Studios in Georgetown, open to the public during the Second Saturday Art Walk.

After sixteen years of practice, I remain engaged in the process of constructing and resolving figurative form, and I am grateful to be here doing this.