During the past few years, my studio practice has become increasingly slow and steady as I have worked to extend the conversation with each pot. I fire smaller kiln loads and spend additional time decorating and focusing on the final details of individual pieces. The inlayed line is particularly significant on the surface of my pottery. These lines form repeating patterns and floral motifs that reference traditional quilt blocks, architectural ornament, Art Deco patterns, stained glass windows, and 16th century Iznik tiles.
The lines that travel around my pots are found under the feet, over the handles, and inside of lids. By interacting with the cups and bowls, plates, and vases, in search of the hidden lines, the audience will find unexpected details - small rewards for close examination.
My color pallet continues to be bright, with translucent blues, shades of chartreuse green, and spots of yellow and red. I use a porcelain clay body that I fire in an electric kiln. This allows for a bright white canvas, providing vibrancy to my glazes and decoration. With each pot and kiln load, the choices I make in color, form, and decoration come together to create a body of work that continues to generate new challenges, questions, and occasionally solutions.
With both my pottery and mobile gallery, I hope to add pomp to daily life. As I leave evidence of the hand, made visible in the imperfect patterns and variations of weight, proportion, and size of each piece, I work to heighten an aesthetic awareness in the user. The record of time spent is found in the nuances of each pot. As my pottery moves into the world, I optimistically pursue my goal to make useful and beautiful objects. Objects that I hope will find a home in everyday life and daily conversation, where they will reward and remind the user that the well crafted object has not only satisfied a need but has connected them with another human being.