2024
Three Mute Prophets
2024
Commercial ceramic with copper carbonate wash, weed wacker string from mile markers 26.1, 44, 45.2, 45.9, and 47.7, foil-covered wire from mile marker 25.4, fiberglass insulation foil from mile marker 38.5, wild clay from beneath mile marker 19.4, red sand from exit 19, porcelain burnout
All the stars in the sky (petrified)
2024
Porcelain burnout of mattress cover from mile marker 38.1, reflective bubble wrap from mile marker 28.9
All the stars in the sky (encased)
2024
Inner tube from mile marker 39.3, mattress cover from mile marker 28.9
Deer Pond
2024
Glazed ceramic, PVC pipe (drain and sewer grade), flocked tumbleweed found on car, water from below mile marker 28.9, red sand from exit 19
Vulture Kings with Sun
2024
Glazed ceramic, fiberglass from mile marker 38.5, solidago from exit 19, brake light bars
Spotted (Mattress, July 21st 2023 to February 18th 2024
2024
Aged mattress foam from mile marker 28.9, ratchet strap from mile marker 28.9, weed wacker string from mile marker 45.2, porcelain burnout, plastic-covered wire from mile marker 38.5, reeds from mile marker 28.9, commercial clay, red sand from exit 19
Attempting to destroy the earth with fire
2024
Wild clay from beneath mile marker 19.4 (unprocessed and unformulated, mixed with red sand from exit 19), fired successively hotter from cone 04 (1945 F) to cone 13 (2428 F), displayed left to right
Attempting to preserve the earth with bubble wrap
2024
Wild clay from beneath mile marker 19.4 (unprocessed and unformulated, mixed with red sand from mile marker 19), porcelain burnout of bubble wrap and string
2023
Roadkill
2023
47” x 26” x 25”, installation dimensions vary
Cotton paper pulp, GAC 400, earthenware, solidago
The mouths of your children’s children
2023
96” x 47” x 26”
Inner tube from I-20 mile marker 39.3, dirt and grasses from I-20 exit 19, wisteria from various I-20 mile markers, found wire, iron powder
MPH
2023
42” x 45” x 32”
Earthenware, mattress topper, iron rod, wax thread
2022
Burning Bridges
2022
8” x 13” x 11”
Porcelain
Pelt
2022
32” x 16” x 11”
Stoneware, earthenware, netting, waxed thread
NonMemory Red and Blue
2022
15” x 13” x 14”
Stoneware, spray paint, wax string, wire, electronic baby soother
NonMemory Blue and Yellow
2022
12” x 13” x 10”
Stoneware, glaze, spray paint, wire, wax string
NonMemory White and Pink
2022
20” x 9” x 8”
Porcelain, ink, wax string, spray paint, flocking, wire
Giving up the ghost
2022
5’5” x 3' x 1'6"
Green stoneware, cotton paper pulp, GAC 400, armature, wooden stand
2021
I touched your arm and you weren’t there
2021
60” x 28” x 18”, installation dimensions variable
Stoneware, glaze, pigment, chiffon, wooden stand
2020
Lost
2020
13” x 7” x 20”
Ceramic Stoneware, Milk Paint, Pigments, Chalk Pastel, Rock Sediment
Blue sky tips spears growing in the desert above a deep and cavernous space. I made this piece after seeing the physical desolation of a friend who miscarried her baby, the emptiness and angles replacing the fullness of her body. But the spires still reach toward the sky, and the piece has become much warmer since I began it; the desert is full of life. You cannot fill the place that loss takes up within you, but you can grow around it. I rubbed dirt and sediment mixed with milk paint onto the surface to give the ground pastel particles something to cling and gather on as they slipped down the surface on the milk paint, which aided the dusty, rocky feeling of the surface.
Useless Vessel on Pedestal (Flocked)
2020
17” x 12” x 13”
Ceramic Stoneware, Flocking, Charcoal, Pigments, Acrylic
The vessel is an inescapably personifiable object that has compelled artisans and ceramicists for centuries to see their own bodies in their work, as every person feels themselves to be a container for reality. As a person with a womb, I feel I have been too closely associated with vessels by too many people who want to fill me with their own expectations and assumptions. Making defiantly unusable, inaccessible, and imperfect vessels is a relief. This vessel is elevated and solitary, soft and prickly, its silhouette reminiscent of the female reproductive system. I used spray adhesive and cheap diorama faux scrub grass, colored with charcoal and ground pastels, to flock the form and give it an ancient, dug from the earth quality.
Again the Moon Rises
2020
51” x 26” x 27”
Ceramic Stoneware, Milk Paint, Pigments, Ink, Rock Sediment, Pallet
An ancient form rises again, perhaps the moon on the water, or an ammonite fossil revived or a primeval anteater remade, or a Neanderthal digging—hunched and probing the broken boards beneath it. I am delighted by the human instinct to personify featureless shape, form and color, and in our quest to understand our collective past, the cyclical repetition of lifeforms. I enjoy the problem solving that sculpture often requires, and making this piece seem to hold itself up on tiny legs was an engineering challenge that I have missed while working small.
Head Rush
2020
3.5” x 2.5” x 4”
Ceramic Stoneware, Milk Paint, Pigment
Inverted, the figure cannot make progress. Their roots reach fruitlessly towards the air as they try to bury their head in the earth instead. Blood pounds in their head, alive in their skin as reason is lost. The miniature size of the piece makes the viewer regard the figure as less of a portrait or full personality and more of a moment or instance; the figure’s impotence is highlighted.
Cloud Head
2020
2.5” x 1. 5” x 4”
Porcelain, Milk Paint, Pigment
Deep in thought, the figure reaches a point their intellect cannot cross. Their reflections and reason become a weighty crown which starts to crumble and cannot advance. Armless and blinded they ossify and grow myopic, frozen in the attitude of a visionary prophet. The miniature size of the piece further removes the figure’s power, rendering them pretty and consumable.
Dreamer on Stilts
2020
6” x 3.25” x 10”
Ceramic Stoneware, Reduction Fired Glazes, Found Metal, Epoxy
The dreamer sinks into memory as they recline, although the memories that support them have begun to rust away. The metal bars that were once so strong are losing their power, and take on the beauty of decay as they fade.
Faithless
2020
13” x 7” x 18”
Ceramic Stoneware, Milk Paint, Pigments
This is the moment of anguish between belief and disbelief, particularly in a Christian religious context. The woman wears a nun’s coif, stoney and matte like a cathedral statue, lit starkly by the hard yellow light that shines above her and glows in the halo tightening around her. Who can resist God? I am fascinated by systems of belief, the power they hold and can wield against the believer, particularly the women within Christian religions. The oversized hands emerging from her habit may be her own, raised in protective supplication, or may belong to someone below her.
Reflexive // Reflection
2020
12” x 6” x 21”
Ceramic Stoneware, Milk Paint, Pigments, Ink, PVA, Mirror Chrome Paint
Like Narcissus staring into his pool at his own reflection, this piece is beautiful but self-absorbed and stagnant. I wanted a strong textural contrast between the soft white exterior and the hard, mirrored interior, with branches stretching away like reflections of each other from the mirrored center. By sealing the surface with a thick layer of salmon milk paint before putting on a layer of water putty and then drenching the still-moist putty in layers of milk paint, I created an unstable, peeling surface that revealed the color beneath. I used ink to enhance the birch-bark effect, and borrowed mirror paint to imitate luster and counter the soft crumbling exterior.
2019
Caught
2019
4” x 3” x 3.5”
Porcelain, Slip-trailed Porcelain Slip, Oxides, Clear Glaze, Acrylic Paint
The frozen figure’s tears gather numbly in their eyes, at odds with the decorative porcelain lace that frames them. Armless, the figure hunches but cannot act--their miniature size further removes their agency, and the lace suggests femininity that the figure cannot escape. I slip-trailed the lace freehand to make the framing, which is all one piece; I would like to expand this technique as it creates a decorative yet organically grown lace, but I am still experimenting with removing the lace effectively from the plaster molds I trail it on when I try to make the lace forms more three dimensional.
2018
Waking
2018
9” x 6” x 16.5”
Ceramic Stoneware, Milk Paint, Pigments
The figure becomes self-aware as they look to the future, their awareness symbolized by the hand reaching to touch the spires of thought rising out of their head, their eyes soft and unfocused as if just arising from a dream. The moment is gentle and soft, a moment of enlightenment and clarity instead of fear at this strange new physical shift.
2017
A Long-Legged Shadow
2017
50” x 19” x 77”
Laminated Poplar Boards, surfaced with Vinegar and Steel Wool, Tea, Coffee Grounds
The large, heavy form teeters precariously on thin stalks, as a memory hangs in your mind, barely connected to reality but creating a new reality of its own. The work is self-contained with an unreachable hollow interior, heavy-looking and dark but when you touch it, lighter to lift than expected and the wood is warm. Its height compels the viewer to feel small, look upwards like a child, as memories dwarf us and take on a life and personality of their own.
Reach // Still // Stand
2017
18” x 7” x 51.5”
Ceramic Kyanite Clay, Cone 06 Glaze, Titanium Dioxide, Milk Paint, Found Door
The piece touches three moments--the past, rooted firmly to the burnt door beneath its feet; the present, in the main “body” of the work with its open eye or mouth set between the two sets of spires; and the future, uncertain and hovering in the air above the reaching tendrils. The mottled, crumbling surface and burnt wood reference decay and destruction, while the present moment is caught in the unstoppable progress of time; the tendrils thaw as they reach higher.
Out of Body Bound
2017
45.5” x 8.5” x 13.5”
Ceramic Paper Clay, Oxide Washes, Milk Paint, Found Pillow and Poles
The recumbent seedpod sprouts on a rusted bed, but its spires are dusty white and lifeless. Life dies and stiffens on the vine; like newly sprouted plant tendrils that cannot find the sun, the spires reach sideways, searching stiffly, unable to find warmth. There is a visual allusion to Manet’s ‘Olympia,’ but Manet’s figure is powerful in her coldness--this form looks for warmth and cannot find it in time.