My practice explores the interplay of form, color, and materiality, rooted in a fascination with clay’s tactile potential. With a background in drawing and painting, I carry an understanding of gesture into ceramics, translating line, rhythm, and movement into three-dimensional form. This sensibility guides my process, where experimentation, adaptation, and problem-solving shape the coordinated interplay of hand, body, and material.

Recent work has centered on reimagining familiar forms that blur boundaries between object, vessel, and sculpture. Each piece begins as a two-dimensional sketch or color study, then evolves through making—where material behavior introduces variation and unpredictability. The resulting works hold a tension between planning and chance, refinement and spontaneity.

I merge wheel-throwing, mold-making, and hand-building techniques to produce forms that balance precision with expressive variation. This hybrid approach allows me to navigate the space between repetition and individuality, utility and ornament. Within this framework, I am increasingly focused on using color as structure, exploring complementary palettes, subtle gradients, and minimal patterning as a way to articulate form rather than decorate it. Soft transitions, layered glaze, and shifts in tone become tools to emphasize curvature, volume, and edge.

I am investigating how surface and silhouette can work in tandem. Repeating form profiles—slight shifts in rim, foot, and proportion are paired with controlled color systems, where gradients move across and around the object, activating it in space. Minimal patterns emerge through process rather than imposition: banding, fading, and pooling that respond to gravity, touch, and timing. These gestures remain quiet but intentional, inviting close looking and rewarding prolonged engagement.