The focus of my work investigates ‘color’ while gamboling on the outer edge of the realistic notions of utility. It is through form, the reflective qualities of surface and the ceramic medium that I explore freedom within limitations. I am continually invigorated by the results of process, interactions of hue, composition, and the physiognomic perception of an object in its setting. It is throughout the act of improvisation that these elements characteristically exhibit a record of a method while revealing the essential role of celebration and practical use. However, my intent of function is fundamental and essential to the blueprint of the work.

The process of my work begins with the centrifugal force(s) of a potter’s wheel. Once the parts are thrown, I begin assembling the form off the wheel by employing handbuilding techniques to include cutting, altering, and darting of the clay walls. My next complete movement involves joining which creates seams; dimensionally revealing the points of a physical modification, thus bonding the disparate elements into a cohesive whole. As the structure of the form emerges, a dialogue begins among the sum of its parts, thus ending the first phase of construction complete. My decipherable objective is to reveal and expose the ‘re-assembling process.’ Simply put, by inverting the orientation of the parts that began as rudimentary wheel thrown forms, I am able to complete the vessel through a complicated matrix of shapes. When complete, the forms themselves act as an indicator of how the forms were fashioned and are presented as reconstructed utilitarian vessels.

The next phase of the composition draws from the dynamic use of color and its application. In anticipation of the firing process, I reevaluate my envisioned idea and employ the development of color as an interpreter of form. Through my perspective, color itself effects the perception of a form, as do the choices of varied marks and glaze colorant. The actual glaze surfaces are applied by brush and juxtaposed with a multiple of finishes. I am interested in the qualities of matte and gloss, textured and smooth, flowing and viscous, as well as changes in color and light. Ultimately, these color choices contribute to the finished work and further enhance a perceived volume. The dimensions of the work are determined by functional concerns, all of which are familial measurements for use in the home.

It is with respect to the decision-making and the learning process that my working methodology allows for the act of improvisation. Intuition plays a central role and quickly guides me toward a visualized form. I find that by using an easily influenced medium, such as clay, that the material responds readily to movement. I am able to rapidly document the activity that takes place between my hand and the material in bringing my visualization into reality.

As I have stated, my intent of utilitarian function is vital and indisputable. My goal is to challenge the viewer’s notion of an object’s use, while assuring that the vessel performs flawlessly in its function and beautifully in its appearance.