Influenced by the richness of poetic myth and magical realism, my practice weaves together thematic fragments—embracing complexity, ambiguity, and lores that linger at the margins, patiently awaiting us in the mysterious wild.

Working primarily with clay, I engage a tactile, circular process of handbuilding: pinching, layering, carving, molding, and incorporating printmaking techniques to create textured, nuanced surfaces. I’m especially drawn to stoneware for its accessibility and quiet presence in our domestic lives—a utilitarian material that carries personal and collective memory without pretense.

In my latest series, If Not, Winter, I explore defamiliarized figuration—strange, evocative forms that gaze back, residing within the chaos around them. These creatures act as portals, seeking to both exit and re-enter our narratives. After cycles of fabrication, deconstruction, reconstruction, and firing, they emerge from vessels that are as psychological as they are physical. Seams are left visible. Edges remain raw. The making becomes part of the story.

This body of work is a contemplation on what it means to be broken and re-membered—where the mundane is transformed into the fantastical, and the liminal becomes a site of possibility. An unfolding of transformation.

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