When designing my ceramic work, I use a language of the wheel, speaking a dialect of circles, cylinders, and curves, conjoined into texts of peaceful monumentality. I incorporate additional mediums such as glass, concrete, and steel, echoing the buildings and industry that inspire my work, and valuing how their presence emphasizes process, function, and material. Wheel throwing imbues symmetry and inherent energy, while material and process are elevated within the overall context of each piece in conversation with contrasting methods and media.
Though I pay homage to the purely physical remnants of our society’s recent industrial and sociological history, I can’t help but be cognizant of the current socioeconomic and cultural growth. I emulate the monolithic elegance of the once prolific infrastructure that is left behind in the Brutalist architecture of the public works projects of the ‘60s and ‘70s and the industrial decay which is scattered across the planet. My work is informed by the impressions left by physically existing in these spaces. I am conscious that these places are linked to the current tumultuous evolution occurring within our society, deepening the poignancy of my work.
I find great beauty in abandoned factories and equipment where time and nature converge upon man made constructs. Steel and concrete gain depth of character via a patina of rust and lichen while human ingenuity and its pursuit of economy of form and function remain evident in discarded structures and mechanizations. The government buildings and housing complexes conceived by Brutalist architects capitalize on material, process, function, and proportion, while projecting gravity and tenor. I echo their work, utilizing the golden ratio to achieve aesthetic continuity, creating quiet objects of balanced reprieve that hums with a juxtaposing gravity that mirrors the buildings and industrial structures that inspire me.