My recent work has centered around the teapot. When building my teapots, I concentrate on creating bold forms that emphasize the natural characteristics of clay.  I want to show where my fingers went and leave the rips and tears, along with both unplanned and planned impressions in the clay. I’m not trying to manipulate the clay into something slick, but something a bit grungy, leaving the viewer with no doubt that this thing has been made from materials of the earth.


By using the teapot’s form with all its commonly conceived notions of function, etiquette,  and tradition—then redirecting those notions to emphasize a more primordial approach that emphasizes the touch of the hand, the properties of the clay and the chaos of the fire—I hope to create pots that are visually challenging, yet instinctively natural.