Much of my work is meant to be dislocated in time, seemingly a remnant of the past or an artifact from the distant future. Each piece is a reflection on the passing of time, and a monument to labor. They catalog the act of making, of constructing, of inventing, and reinventing, and speak to the never ending flow of both time and human attempts at progress.
My newest body of work continues to explore transformation, this time focusing on both structure and material. It uses the kiln as a vehicle for deconstruction. The porcelain grid systems begin as digital renderings and are meticulously fabricated by hand. These structures become the architecture over which to stretch a fluid skin that is allowed to warp or collapse the structure under the strain of the firing. They expose the relationship between soft and hard, the fluidity of a membrane, and the moment of intersection between these contrasting elements. They strive to pair labored construction with unpredictability, and capture the entropy embodied in the process.