In a world where production of domestic goods and by-product waste has reached a grand scale, my hope is to elevate the importance of handmade pottery by its quality and its relevance today. I believe the life and the space in which these unique handmade pots inhabit, enhance the everydayness in our rituals. The potter is situated among the vast availability of the industrially made. What separates the hand made from the mass produced? It is a definition of the makers complex thoughts of the human quality in our physical world. One of longevity, comfort, pleasure, ease, and beauty; an answer to soulless products that flood our markets today. The handmade, unlike any other art is an aesthetic experience through the senses and is a direct connection to the maker. It is voiced in the subtle nuances and individual markings only read through the intimacy between user and the object.
I have collaborated with our material culture and with the botanic world. This is the collision of worlds where information is sourced for designing and embellishing my pots. It is the place I situate my work relative to my surroundings. Products and technology, with a variety of graphic and type design, vivid color palettes, bold geometry in architecture, and an array of tropical botanicals, are all sourced pathways. The graphic scheme of my decorations are a visual reaction to my surroundings. Whereas my forms are an observation of how the aesthetics are integrated with structure and its visual impact in relation to use. The action one takes when holding a cup, whether grasping around the body or holding from the handle, is leverage; the jars top, should it have a knob to access its contents, and the possibilities of use for a bowl, are all assimilated while making.
My intentions about the pots function, its need in human interaction, the importance of the object, the process of the hand-work and all formal information, is a desire to find meaning in our material culture through the ancient traditions of the handmade.