My ceramic work begins as simple stoneware slabs that are manipulated by hand. I leave the awkward joins, cracks, and scarring intentionally untouched—artifacts of the construction process and of the compromises made between artist and material. The introduction of transitional metal oxides into the clay while still plastic, and again prior to final glaze firing, imbues the finished work with surfaces reminiscent of stone and of earth.

With my ceramic studio temporarily closed due to COVID-19, in spring 2020 I turned to the world of two dimensions, working at home in a makeshift studio. Over the last nine months, I've been investigating the mark-making possibilities of the found metal originally intended for incorporation into my ceramic work. While the medium is different, the approach to creating art is the same—one of experimentation and partnership with the material.