My practice revolves around a personal preoccupation with the daily discoveries and melancholy mundanities of my own everyday life. I look to the past and the present at the curated spaces and faces called home, the ornamentation of a building or a body, and even the makeshift maintenance of an object or a community. Through this daily practice of active observation, I collect and draw from personal and cultural familiarity. I look internally and externally in this way with a focus on the discovery and rediscovery of self, space, and society. 

I utilize functional ceramics as fitting vehicles for the recognition and documentation of these daily observations. I choose a clay canvas for its color, its pliability, and its tactility. I choose clay for its history, its culture, and its community. I choose clay because in a symbolic and almost magical way, it becomes something that walks the same line we do between resilience and fragility. My practice plays with the integration of clay and all of its symbolism with a variety of 2-dimensional art practices. I am particularly intrigued by how this integration of material, practice, and perspective captures both the natural and industrial aspects of everyday life in all of its forms, colors, textures, and spirit. 

Through this act of preserving what I recognize as the present moment into objects that embody my own common day chaos, I am crafting extensions of myself and assigning each object and its subject matter a sense of personal value and permanence. In this way, I think I try to craft a kind of poetry into my pots. A poetry that speaks about learning to maneuver within  the embedded beliefs and practices of a childhood and a culture; How both breed a yearning for awareness, understanding, and balance. Or maybe more so a simpler kind of poetry that speaks solely about the daily attempts at positivity and perseverance in the presence of intrusive thought. Whether you look at my work and see an aesthetically pleasing object or this tangled poetry within it, my pots exist to me as vessels for personal narrative that become a contemporary contribution to a tradition of the pot as a container for culture, for communication, and for the kitchen.