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The intimacy of the ceramic process is what drives me to create. I am devoted to the act of making and all that it has to offer me. Through the use of clay, I aim to provide the user with an insight to each part of my process, from the wet stage of working with the malleable clay, to the chosen firing method.

 

My current body of work was originally inspired by the undulating dynamic shifts of the Rocky Mountain landscape terrain, where I grew up. I began to approach this theme on a large scale through sculptural coil building with clay and found that I tend to work in a very figurative manner. The influence of body curvature and landscape scenery continues to inform my work; however, I have deviated from sculptural to functional pottery. I have taken this initial exploration of the human body and landscapes and translated these ideas into simplified, utilitarian objects in order to bring my work into the everyday life of the user.

 

During the process of making, my aesthetic decisions are based on reacting to the convex and concave curves of the form. Continuous, carved lines follow the structure, leading the viewer’s eye around the entire composition and creating unity through the refinement of these marks. I then juxtapose this arrangement of form and surface with the unpredictable and serendipitous act of atmospheric soda firing, a process where a sodium glaze solution is introduced into the kiln at peak temperature and is distributed throughout the kiln chamber by the path of the flame. The resulting sodium vapor forms a molten glaze on the pieces as it weaves throughout the collection of pieces within the kiln. Each piece reflects a moment where the work has come into contact with the flame and soda, a mystery revealed with the more kilns I fire.