Artist Bio
I’m a ceramic artist drawn to functional forms that are meant to be held, used, and lived with. But
surface design takes each piece beyond their functionality. When I carve into clay, the piece starts
to speak back and the form begins to feel like its own small world. I think of each piece as a tiny
landscape, and the marks I make are like topography: undulating, imperfect, intuitive.
I live in a mountain town, and the natural world is a constant collaborator. Rock faces, tree bark,
suncups, alpine wildflowers—they all influence my textures and forms. I love the push and pull
between bold, saturated glazes and the groundedness of raw clay. That contrast is a conversation
between energy and stillness.
My background is in printmaking and that training shows up in how I work—layered, rhythmic,
process-driven. I’m also a deeply tactile person. Clay gives me something to wrestle with, listen to,
respond to. That physical exchange—between body, material, and intention—grounds me in the
present. Making is a spiritual practice, a way of tuning in and asking: What does it mean to be here?
The process is how I stay curious about being alive. My artwork is always transforming and clay is a
medium with endless possibility. Every day I sit down at the wheel I am ready to discover something
new.
Working with clay roots me in the present, but its life doesn’t end in the studio. I make functional
pots because I want them to be part of real life. I don’t want them sitting on a pedestal—rather, in
the kitchen sink, on the dinner table, in my lover’s hands. Pots live with us, companions in the
everyday rituals of cooking, eating, and gathering. My hope is that my pieces folds themselves into
the rhythm of life, giving people a daily opportunity to cherish wonder and beauty.
