I took a ceramics class in high school and fell in love with working on the wheel. After graduation I took some time before college and set up a home studio with a second-hand wheel and my grandmother's kiln. I learned a lot and had a lot of fun, but after a year I went to college and got a BS degree in Anthropology/Zoology.

Towards the end of my college days I was looking for something to distract me from writing my thesis, so I started taking studio ceramics at the art school. The facilities were amazing and I got to experiment with many techniques like raku and wood firing.

And then... life happened. Three years after graduation I was living in Denver, working at an art gallery but with no creative outlet of my own. I decided the time was right to set up a home studio, this time with a new wheel and kiln. That was 17 years ago, and I've been a studio potter ever since, selling my work in galleries across the country, at local street fairs, and online.

My work can best be described as such:
Scientific and Mathematical Contemporary Pottery with a focus on Chemistry and Biology.

I currently offer two lines of work:
My hand-thrown bowls are painted with white or hand-mixed colored underglazes. Sometimes I make vases or other shapes, but mostly I love to make bowls.
I have also recently been altering mugs and cups that I find at thrift stores, giving them a new life and creating an eco-friendly product.

Both lines of work are decorated with my custom ceramic decals, which I have printed to my specifications. Most of the decals are of my own designs, but I sometimes use fair use images or found images from vintage magazines and brochures.

I fire all pieces to about 1600 F to fuse the decal to the work. Lucky for me, I have a graphic designer in the family to help me realize my visions for the decals, which are then sent to a custom printing house. This process allows me to get closer to the total perfection I desire for each work of art I create.

All of my bowls are created on the wheel; I just love the act of throwing and the symmetry it creates. I've worked with earthenware, stoneware and porcelain, but right now I'm using earthenware (Cone 04). It allows me achieve the great, bright colors. An average of 4 coats of underglaze is needed in order to get nice, opaque coverage. The pieces are then fired with a clear glaze. At this point they are ready for use, or they await a decal and are fired a third time.