Clay has a potential and versatility that begs to be explored and pushed. In my pursuit of realizing those qualities in the material, I look to the vast history of ceramics, my own empirical points of reference and the diverse and rich community of fellow wood-fire potters and sculptors in Southern Appalachia and throughout the world.
My current work is split between domestically inspired wares, or pots, as well as evolving, dynamic formal and sculptural studies. The interplay between the two forms an avenue into the medium that I feel can, and will evolve with me as an artist. I maintain a relative balance between hand-building and wheel-throwing techniques, and often combine the two in a single piece. All of my work is informed by, and geared towards the characteristics of wood fire.
I use stoneware and porcelainous clays as well as a number of slips and shino-type glazes that complement, enhance and endure the effects of my firing techniques. I wood fire my work in a variety of kiln types: anagama, noborigama and Bourey-box salt/ soda kilns. Each firing certainly imparts differences in the finished work, yet at the same time, record the intimacy between maker, clay and flame, which is so important to me with my work.