My ceramic practice is grounded in traditional hand-building techniques—slab building, coiling, and solid construction. These methods allow for a slow, intuitive process that invites deep focus and a connection to form.
When I sculpt, I often enter a flow state where time falls away. Though the motions are familiar, each piece unfolds differently. I rotate between various clay bodies, letting the material guide the process—each type has its own character, offering resistance or flexibility in unique ways. I experiment to discover what each one will reveal.
The moment that draws me in is when the figure begins to emerge. Sometimes it starts with the curve of a hip, other times with the tilt of the torso or the way the piece is oriented—I’ll suddenly know, this is her front, and the rest follows. I build the form piece by piece, working the surface with my knuckles, tools, and found objects, imprinting texture with lace and other materials.
The sculptures—guardians, matriarchs, angels, and queens—often undergo multiple firings. I layer oxides and glazes gradually, refining the surface until the figure feels fully realized, complete in its presence and power.
Sixteen years in, I’m still drawn to that quiet moment when the figure begins to speak through form.
