I make pots in a refurbished barn that sits next to an expansive swath of farm land in rural Upstate New York. This land is used for growing corn and hay to feed dairy cows. The way the land is worked creates shapes, patterns and textures that repeat over seasons and change slightly every day. These elements seep their way into my work as this place is inherently imbued into the pots I make. I want to make thoughtful, honest pots that connect with people through tactile comfort and visual vitality. Attention to detail is important to me as a way to consider all aspects of a pot, from how it feels in the hand to how it looks on the shelf or table. Strong visual strength allows the pots to have presence people’s lives when not in use, yet they are ready to serve their function at any given moment.
Wood firing was part of my introduction to clay when I was a student and has been at the center of my thought process and work cycle ever since. In an effort to expand on my knowledge of clay and my interests as a maker, I am moving from high fire stoneware to the lower temperature ranges of earthenware. I love the properties and history of red earthenware clay. It’s been a humbling experience to change from something I knew well and took years to develop, to new materials and firing methods. Clay has its own way of being that I try to listen to and learn from. Though continuing to wood fire I am also exploring electric and soda firing.
My intention remains to make good pots that connect people with an unspoken something and serve their function well. The long tradition of clay in our human time line provides a standard toward making soulful, enduring work that I hope to uphold and contribute to.