My current body of work started as an exploration of the effects language has on our lives, identity, and body. By giving glaze a new role in the ceramic process- casting it and making it the core or structure holding everything together - I attempt for the material to learn a new language, thus communicate differently and even transform physically. Engulfed by the glaze are extruded ceramic elements who’s construction recalls connective tissue and other assorted viscera. Areas where constructed sinew is revealed from amidst flowing, pooling and dripping glaze provide a view of change and fluidity captured and recorded in a singular moment.
The sculptures have evolved into their own vocabulary, referencing ceramic traditions and conventions by bypassing the rules and pushing the boundaries of the process, classical sculpture and a morbid obsession with the unfamiliar. The work is no longer constrained by canon and is empowered by the freedom that the unknown bestows.
In my own work, I seek to redefine the materials of ceramics not with technological intervention, but with a re-definition of familiar terms. By seeking to change the role of a basic element of ceramics, I am endeavoring to change the language that the material can speak and in this way expand the vocabulary of the medium. I still work very much within the techniques of millennia of ceramic history, but by exploring this other understanding of the role of basic materials, I am seeking new ground. I feel that this type of exploration is exciting because I am not simply relying on a trendy new machine to move towards a new understanding of craft, but rather digging more deeply in to existing conventions and trying to re-imagine their arrangement.