Through the lens of functional pottery I focus on questions about our relationship with objects. I explore the concept of humanitys authority over landscape and record of construction as a form of time materialized. The geographical layered strata of each vessel represent fragments or glimpses into the density of every assemblage. With the intersections and overlaps, I contemplate the dynamic relationship between materiality and landscape and our attempt to control it. Each vessel is made using clay that is artificially colored to reference natural tones. The juxtaposition of the natural and artificial speaks to a notion of manicured space in an attempt to cultivate order.
Focusing on the fluidity of process and materials as remnants of making, I work with a limited number of tools and movements to allow the clay to actively inform the line quality and elegant volume. Relying heavily on the physicality of the technique I generously push and pull these lines to develop an undulation that resembles natural rhythms. The harmony of repetition comes through meditation of movement. The presence of process in the work is essential as my forms are searching for confidence in their construction. The conversation between the stained clay and glaze, obscuring or revealing, explores a didactic look at color as body and color as skin.