My art has a tendency to come from my fears of failure, romanticism of my past, and fantasies and frustrations about the future. My studio practice is an ever-evolving and sometimes maddening experience. My deepest love is in clay. Everything about the material, from the gooey pudding-like slip that covers my hands as I throw, to the (occasionally malicious) magic that takes place within the kiln. The material’s willingness to take on any form, texture, color, and purpose allows for continuous exploration in the studio; and the ability to hone skills and ideas through variation of repetition, whether subtle or drastic.
Light and shadow are integral to the Crying Pansies jar, both physically and conceptually. The shadows of deep carving and undercutting of the petals creates depth and movement. Each pansy’s center is pierced to allow glaze to pour down each flower, creating wet, bright drips of blue and yellow, atop the deep earth red and dark night blue that covers the jar’s carved surface. The clear glaze creates windows for light to pass through, into the shaded interior. In the way that light and shadow can contrast as well as parallel one another, this jar is a culmination of my past, growing on a flower farm, and my future with Art.