My ceramic practice is rooted in traditional hand-building techniques—slab building, coiling, and solid construction. These methods allow for a slow, intuitive process and a close connection to form.
When I work, I often enter a focused state where the piece gradually takes shape. I rotate between different clay bodies, letting each material guide the process. Each type offers its own character, which shapes how the work unfolds.
Figures often emerge organically, whether in the curve of a hip, the tilt of a torso, or the orientation of the piece. I build forms piece by piece, working the surface with my hands, tools, and found materials, imprinting texture with lace or other objects.
The sculptures—guardians, matriarchs, angels, and queens are layered in oxides and glazes to refine the surface until the figure feels resolved and complete.
Even after sixteen years, I’m still drawn to the quiet moment when a figure begins to take form.
