In my undergrad work I try to balance symmetry of form with the use of applied pattern and design to create a precarious relationship between the physical formation of the object and the ways that I can alter the perception of the piece through extraneous surface information. I use this form of visual camouflage as my way of tapping into the language of pattern to express a narrative on the relationship between perceived beauty and opulence and the personal damage that can arise from the actions of desire. The specific nature of pattern as a sensory and symbolic language creates an additional layer of narration for me to apply either historical or personal moments of storytelling. My role as narrator is not limited to one form of making, so I work in both sculptural and functional ceramics with each way of making lending different forms of narration and interaction.

               Sculptural work really lends itself towards a distance between the user and the chosen narrative whereas functional work more easily embodies an intimate relationship with the user by creating a heightened sense of familiarity. Specifically because of the functional nature, the user is readily invited into an active investigation of the piece through additional senses whereas sculptural work is generally not physically handled in the same manner. As a result of this my functional work is designed to invite personal play through stacking and arrangement while my sculptural work is really very stationary. Sculpturally I work in thin slipcast tile forms which have been embellished in a manner of different ways that function as a sort of archive for personal memories and moments. Memory plays a significant role in my work, in particular the idea of the shared memory – a memory that holds weight in many individuals as opposed to an individual memory – and how that memory is formed differently from mind to mind really fascinates me so I focus on this heavily in my sculptural work. Each perspective in a shared memory will be different from person to person. By working with the properties of translucency I can create a dialogue on the nature of memory and how it’s individually difficult to alter the version of your memory of someone or something because those memories cloud the fabric of reality to create a personalized perspective. 

              Since leaving my formal education behind me, my work has taken a much more intuitive turn into functional pottery where I am currently feeling my way around discovering my passions, and finding myself in the work. Within this haphazard process, I have little to say for myself - except maybe, that I am enjoying the permanent invitation to play until I find the center of what drives me.