The daughter of an artist-potter, clay entered my life early, in the form of a dusty kick wheel and kiln in the basement of my childhood home in Raleigh, North Carolina. But I spent my formative years exploring other forms. As a ten-year-old I made stop-motion animations with a plastic camera that my parents ordered me from americangirl.com. Some eleven years later, recovered from adolescence and entertaining an aspiration to be a journalist, painting captured my heart. At the Marchutz School, located in the proverbial shadow of Cezanne’s Mount Saint Victoire, Aix en Provence, France, we would paint from the forest and the fields or paint still-lifes the studio until the waning sunlight cast orange tree-shadows across the far wall. It was at Marchutz where I acquired the habit of close looking and learned to see the mystery in the visible world.
Observational drawing remains central to my work in painting, film, ceramic sculpture and, in more subtle ways, writing. Drawing… in all its manifestations… my art practice involves a dialogue between my embodied imagination and the otherness of nature.
Recently, my hours in the studio have been primarily devoted to ceramic sculpture. I make dense vessels recalling architecture and plant forms, living structures where the outer surface is alternately shields or reveals layers of an inner form. Undulating between openings and closures, between physical form and space, they abstract an experience of seeing that I’ve become familiar with through drawing. I’m interested in making objects which invite viewers to peer inside, to walk around, to actively examine.
In my Art History thesis, I hone in on this notion somewhat, through an investigation of the primal, haptic ceramic sculptures of Stanley Rosen.
Alongside my creative practice, I’m involved in engaging the public with art through writing, curatorial projects and teaching.
I sell my work on etsy.