In my work I hope to offer my viewers a moment of reprieve from their hectic existences and allow them a chance to reflect and meditate. In the modern world we are working harder and longer then prior generations for less, while frivolous distraction and tumult divert us from the substance of life that nurtures our souls. I possess a unique understanding of this contemporary struggle. I grew up living a self-subsistence lifestyle in the forests and fields of Vermont on an organic vegetable farm without running water or electricity modeled on the lives and writings of Helen and Scott Nearing. As a child, the culture shock I experienced moving between my world at home and the post-industrial computer age awakening in New England was alienating and overwhelming.
I find in working with clay, particularly on the wheel, a subconscious communication transpires between the material and the maker. The volume and breath that can be achieved through its use can hum with beauty and energy. When designing work, I do so internally, using a language of the wheel, speaking a dialect of circles, cylinders, and curves where they converge into sentences and paragraphs of peaceful monumentality. The space between these elements, the relationships of differing proportions generates balance and lucidity in these objects in a way similar to what is possible within well-conceived architectural spaces.
Recently, I have expanded upon this dialogue by introducing other processes and materials into my work. I have begun working with steel, concrete, and glass and have adopted the use of slab building, 3D design, and slip casting in my studio practice. It is important still that wheel throwing maintains a presence, but the material and process are elevated within the overall context of each piece when in conversation with contrasting methods and substances. It is, in part, because of my upbringing that material and the labor of making are so important.
My work is formal in the sense that I am interested in composing individual elements to emphasize intersecting planes and curves and the relationships created by the proximity of these divergent forms. Because I mine nature, architecture, urban decay, fantasy and sci-fi for visual and contextual prompts, associations can be formed between my work and these sources. I am a Minimalist, especially in relationship to architecture (i.e. Louis Kahn) and design in which compositions have been reduced to only the necessary functional and aesthetic elements. These components and their relationships with other facets have been carefully considered to achieve a coherence of geometric form. My practice is a reaction to the chaos and complexity of the modern world; there is clarity and strength in simplicity.