Bio
After graduating with a BFA, I began exhibiting in craft shows and galleries across the US. At the same time, I taught in numerous local museums and art centers and was awarded several art residencies through the Delaware State Arts Council. Once my kids were born, I stepped away from my full-time studio practice to teach art in local schools. Within the school ceramic studio, I was able to continue creating while inspiring several students along the way. Workshops in jewelry and metalwork were added to my practice through professional development. Another opportunity, the Marshall Bridge Welding Workshops taken from 2016-2019 began a love of welding and doodling with the plasma cutter. While most pieces were directly inspired by found and recycled materials, some were designed referencing my love of ancient pottery, but with a new spin, most often as containers of light.
Unfortunately, surgery in summer 2022 forced me to step away from welding and the plasma doodling that was such a part of my work. I had already begun combining clay and metal for some sculptures shown through the Delaware State Arts Council, so I continued pursuing this idea. It brought me to where I am now, throwing pots, adding crazy clay embellishments, and combining with recycled found objects to create my different lines of work.
After graduating with a BFA, I began exhibiting in craft shows and galleries across the US. At the same time, I taught in numerous local museums and art centers and was awarded several art residencies through the Delaware State Arts Council. Once my kids were born, I stepped away from my full-time studio practice to teach art in local schools. Within the school ceramic studio, I was able to continue creating while inspiring several students along the way. Workshops in jewelry and metalwork were added to my practice through professional development. Another opportunity, the Marshall Bridge Welding Workshops taken from 2016-2019 began a love of welding and doodling with the plasma cutter. While most pieces were directly inspired by found and recycled materials, some were designed referencing my love of ancient pottery, but with a new spin, most often as containers of light.
Unfortunately, surgery in summer 2022 forced me to step away from welding and the plasma doodling that was such a part of my work. I had already begun combining clay and metal for some sculptures shown through the Delaware State Arts Council, so I continued pursuing this idea. It brought me to where I am now, throwing pots, adding crazy clay embellishments, and combining with recycled found objects to create my different lines of work.
Statement
One of the things I tried to pass on to my art students was the sheer joy of experimenting and playing with materials when creating. Since retiring from teaching and returning to my studio, I remind myself to relish this joy again. I love the process of throwing on the wheel, so I completely immerse myself in that as the first step. Creating the embelishments to apply to the surface of my vessels is magical and I marvel at the different organic shapes and details that repeat and yet change every time. As I apply the surface design, each object evolves based on how the shapes from that session fit together, much like a puzzle that has no picture to follow. Contrast is always in the forefront of my design decisions in both form and glaze. Cutting out negative spaces between shapes allows light to remain a consideration in the final design of some pieces. Numerous art movements, as well as classic Greek and Roman forms, remain an inspiration as I create my own version of New Antiquities.
I work in small batches. Every grouping informs shapes, changes and additions for the next.
One of the things I tried to pass on to my art students was the sheer joy of experimenting and playing with materials when creating. Since retiring from teaching and returning to my studio, I remind myself to relish this joy again. I love the process of throwing on the wheel, so I completely immerse myself in that as the first step. Creating the embelishments to apply to the surface of my vessels is magical and I marvel at the different organic shapes and details that repeat and yet change every time. As I apply the surface design, each object evolves based on how the shapes from that session fit together, much like a puzzle that has no picture to follow. Contrast is always in the forefront of my design decisions in both form and glaze. Cutting out negative spaces between shapes allows light to remain a consideration in the final design of some pieces. Numerous art movements, as well as classic Greek and Roman forms, remain an inspiration as I create my own version of New Antiquities.
I work in small batches. Every grouping informs shapes, changes and additions for the next.