Artist Statement There are subtle yet intimate relationships between object and user. When we describe an object, we describe it in human terms. Using language like lip or shoulder, reinforce this human connection. I try to work with these visual and tactile cues to create work that invites conversation about humanity and process. We are increasingly connected with our technology, but there is a distinct lack of human connection in this paradigm. In our culture of instant everything, making time to engage our senses in the world around us, is more important than ever. It is fascinating that we might make objects that slow down the ever increasing pace of living just a bit, and cause some sense of wonder.
Question 1: How do you think your work stands out and is specific to you; either the way you create, the forms, the glazes, the concept, etc.?
Answer: I think the combination of fairly straightforward forms and dramatic surfaces are two ways that my work stands out. I tend to lean toward making and firing in a way that shows evidence of my process in a direct way.
Question 2: What do you enjoy doing outside of the ceramic area?
Answer: I spend quite a bit of time rock climbing in the cascades. I love the temperate summers in Washington! I am also a project manager for a small residential green construction company. It’s exciting and challenging to take part in building homes in a way that is conscious of our environment and materials usage.
Question 3: Who/what would be your 3 most important influences either as an artist or as a person (or both)?
Answer: My brother and mentor, Jeremy Noet has played a huge role in my career as an artist. He was my first teacher outside of high school, and the first to show me the importance of asking the “why” before the “how”.
Ted Clifton, with whom I have built homes for 12 years now, has an uncompromising vision of what he wants his homes to be and isn’t afraid to take risks to accomplish that goal.
My residency at Pottery Northwest in Seattle changed my work in a major way. Damian Grava (a former resident) and Wally Bivins (the former director) were really generous with their knowledge regarding the Gail Nicholls method, and I’m pretty certain I wouldn’t be making the pots I am now without those two.
Question 4: What are some areas you would like to explore in the future regarding your work? (different kind of firing? any glaze types you’d like to try? more sculptural / functional work? ….)
Answer: I can see this current body of work as a jumping off point for so many things. It would be interesting to bring brightly colored glazes back into the palate to see if it’s possible to exaggerate some of those dramatic flashes. It might also be interesting to dedicate some more time wood firing. I’d like to see how much crossover there is between wood and soda and if there are relationships to be mined for richer surfaces somewhere between the two.