Most of my formal influences come from outside the medium of ceramics. Twentieth century art movements like Dada, Constructivism and the Bauhaus have all had a big impact on how I think about making art. For me, the experience of making a pot feels similar to making a collage, but instead of using magazine clippings or photographs I construct the pot from universal formal components—shape, line, volume, texture, color—all of which can be assembled in multiple (maybe infinite) variations. When I throw a pot on the wheel I don’t feel as though I am creating something original, I feel like I am reaching for forms that already exist in space and the authorship resides in the particular way that I put them together. For me a successful piece appears as though it’s wrapped around a form that was always there, just waiting to be embodied.
I make both functional and decorative pottery in series rather than sets. While I admire potters who can make vessels that are virtually identical it’s not a skill that I cultivate. Most of my work is in the small to medium size range: I like the idea that both functional and decorative pots exist to be held and it’s important to me that they not only look compelling but invite touch.