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Gallery

This gallery is organized chronologically by time periods of work and various collections. No work here is available for purchase.

Early work before apprenticing 2016-2021

This is a very rudimentary and experimental time in my pottery career. These pots are whimsical and a bit impractical, yet capture the incredible amount of fun I was having designing and throwing them. I think very fondly of this time because there were seeds of designs I love and stick to sewn in this period that you might be able to identify it in my later work. I've always said that I like to make pots that look like they've "just been dug up from the earth," which I think comes through in the pots from this period. Although I no longer paint my rims in this way, or add nobs or handles like this anymore, I cherish these pots and their place in my journey.

VOID

Cook on Clay Apprenticeship, 2021/2022

During this time period, my focus was on learning the technicalities of throwing a pot. Pulling up all the clay, making the walls even, and perfecting the details of the pots skin and rim. Each pot was very simple and the focus was to showcase the advancement of my skill throughout the process. This time period is when I honed my wheel-throwing skills and started production throwing. I wanted each pot to exemplify the essence of the skill I was gaining in every part of the process which includes throwing, trimming and attaching handles.

During this time I also began to experiment with collecting wild clay and harvesting it for use, which you can read more about on the process page. I didn't glaze any of the pots yet, as I'm waiting to create a natural glaze for them once I return from my apprenticeship in Latvia. Once they are done, they will be uploaded to this section! Stay tuned.

THIRTY THREE

La Meridiana Residency Tuscan Collection, Summer 2022

This time period was all about the glaze. I was able to expand on style of pots I was making, as you can see the forms are a bit more refined and delicate, but my main focus was on creating natural glazes for my residency. All the pots covered in a brown, orange, or black bellow are coated in the natural glaze I created from reed ashes and slip I collected around Tuscany. I was also taking a class with Franco Rampi, a master potter teaching at La Meridiana, so I was able to flex my wheel-throwing skills and try more complex forms like lidded pots, bottles and jugs. This time period allowed me to expand upon the skills I had been honing and begin to develop a distinct visual language with my pots.

THE MOON IS PINK

Latvian Apprenticeship Collection, 2022

This time period is my most recent work, all of which is not even uploaded here yet! During this time I began to focus on production throwing, which is creating the same form over-and-over again in a timely manner, so I was able to further improve and refine my throwing-technique and experiment with some new forms such as large-scale forms, teapots, and mini pots. I was also able to experiment with glazes. This gave me the opportunity to try out fun colors and very specific design aspirations that were previously not possible due to the fact that natural glaze and clay making don't usually allow for a lot of variation in color and texture. When natural glaze making, colors are usually limited to beige's, browns and green pigments and the texture is hard to control.