His art changes with the environment as he adapts the techniques of colleagues and students. His work is directly influenced by the common notions of his community studio. The seed of his aesthetic comes from the red rocks of southern Utah where he grew up. He made wood-fired pottery at NAU during his BFA. Between degrees, he made increasingly odd pottery at an artist residency in Seattle Washington. His work grew in scale and complexity during his MFA at the University of Notre Dame. From community studios to academic, all have evolved his pottery with one more element in form, texture, or conceptual layer. Coleton is currently a resident artist at Belger Crane Yard Studios in Kansas City, Missouri.

Coleton considers himself a traditional Potter who sculpts. He has taken a careful approach to ceramics to thoroughly absorb the anatomy of a pot, and cherishes fine-tuned pottery. Over the past 14 years, he has come to view his work as an evolutionary phenomena. He sees parallels between biologic evolution and formal evolution. His pots have gradually become sculptural as they have grown appendages and developed wrinkles and folds in their ceramic skin. As a pottery is an abstraction of the body, his sculptures are an abstraction of pottery.