The pottery that I make is intended to provoke daily use. I compose each piece with both function and visual aesthetics in mind. Making multiples of each piece gives me an opportunity to make new innovations within similar forms. Inspiration for my current work comes from a wide range of firing techniques and construction styles, both historical and modern. Throughout my search for my own ceramic identity, I have become totally infatuated with the wood firing process. Being a wood firing potter I am only able to set parameters for my work, leaving much of the final outcome to chance. I do, however, have control over my clay body, glazes, and the placement of my pieces in the kiln, but in the end my work is completely at the mercy of the atmosphere and path of the flame during the firing. Along with multiple layers of sprayed glazes, I use small amounts of ash glazes to force colors to run, pool and otherwise mix together on the surfaces of my pieces throughout the firing. Their unpredictability and random temperament keeps me completely captivated. Weather it be a mug filled with steaming coffee, or a vase full of flowers, I believe that my work is not complete until it serves its intended purpose; complementing its surroundings, and providing visual stability.

The pottery that I make is intended to provoke daily use. I compose each piece with both function and visual aesthetics in mind. Making multiples of each piece gives me an opportunity to make new innovations within similar forms. Inspiration for my current work comes from a wide range of firing techniques and construction styles, both historical and modern. Throughout my search for my own ceramic identity, I have become totally infatuated with the wood firing process. Being a wood firing potter I am only able to set parameters for my work, leaving much of the final outcome to chance. I do, however, have control over my clay body, glazes, and the placement of my pieces in the kiln, but in the end my work is completely at the mercy of the atmosphere and path of the flame during the firing. Along with multiple layers of sprayed glazes, I use small amounts of ash glazes to force colors to run, pool and otherwise mix together on the surfaces of my pieces throughout the firing. Their unpredictability and random temperament keeps me completely captivated. Weather it be a mug filled with steaming coffee, or a vase full of flowers, I believe that my work is not complete until it serves its intended purpose; complementing its surroundings, and providing visual stability.

The pottery that I make is intended to provoke daily use. I compose each piece with both function and visual aesthetics in mind. Making multiples of each piece gives me an opportunity to make new innovations within similar forms. Inspiration for my current work comes from a wide range of firing techniques and construction styles, both historical and modern. Throughout my search for my own ceramic identity, I have become totally infatuated with the wood firing process. Being a wood firing potter I am only able to set parameters for my work, leaving much of the final outcome to chance. I do, however, have control over my clay body, glazes, and the placement of my pieces in the kiln, but in the end my work is completely at the mercy of the atmosphere and path of the flame during the firing. Along with multiple layers of sprayed glazes, I use small amounts of ash glazes to force colors to run, pool and otherwise mix together on the surfaces of my pieces throughout the firing. Their unpredictability and random temperament keeps me completely captivated. Weather it be a mug filled with steaming coffee, or a vase full of flowers, I believe that my work is not complete until it serves its intended purpose; complementing its surroundings, and providing visual stability.

The pottery that I make is intended to provoke daily use. I compose each piece with both function and visual aesthetics in mind. Making multiples of each piece gives me an opportunity to make new innovations within similar forms. Inspiration for my current work comes from a wide range of firing techniques and construction styles, both historical and modern. Throughout my search for my own ceramic identity, I have become totally infatuated with the wood firing process. Being a wood firing potter I am only able to set parameters for my work, leaving much of the final outcome to chance. I do, however, have control over my clay body, glazes, and the placement of my pieces in the kiln, but in the end my work is completely at the mercy of the atmosphere and path of the flame during the firing. Along with multiple layers of sprayed glazes, I use small amounts of ash glazes to force colors to run, pool and otherwise mix together on the surfaces of my pieces throughout the firing. Their unpredictability and random temperament keeps me completely captivated. Weather it be a mug filled with steaming coffee, or a vase full of flowers, I believe that my work is not complete until it serves its intended purpose; complementing its surroundings, and providing visual stability.