Utilitarian pots are anthropomorphic as we describe them with a lip, neck, body, and foot. My pieces are anthropomorphic because they are an abstraction of utilitarian pottery. They are metaphors for my personal relationship with ceramics. The forms rise from my own rhythm of consciousness. I seek to convey my personal sense of existence through tangible form and to flesh out primitive and fundamental sentiments of the human being.
Movement and physical interaction are essential during making and viewing of the finished form. As utilitarian pottery is used to serve, eat, and drink, it evokes communal or intimate experiences. My work holds to those sentiments as the viewer must interact by moving their body for a different view. To see a viewer reach out to touch a piece is a compliment. The texture is inviting, organic, and complex. Just as a stone that you may hold or keep, it is reminiscent of time and conveys a sense of growth or decay.
I tend to create forms which contain space due to my traditional discipline in ceramics. I’m interested in the vessel not because of its function, but because the opening adds an additional aesthetic detail or focal point, it adds another layer to the dialogue. The opening often alludes to a function while referring to the broad history humans have with ceramic vessels.
The forms themselves are anthropomorphic and can be inviting or provocative. They come to life when contingent events occur during making, such as an unexpected slump or sway in the form. I embrace these factors and let them guide the work to conclusion. I view this method as a way to achieve balance and harmony in the finished piece as I merge elements of chaos with my learned sense of control. Every interaction with clay is an opportunity to learn more about its nature. Every piece is a sketch, elaborating on the last through playful yet thoughtful experimentation.