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I work across ceramics, weathered surfaces, and works on paper, drawn to materials that carry the evidence of time and change.
My practice centers on the quiet tension between presence and absence, control and chance, structure and entropy. In clay I explore the meditative body—serene figures and fragmented forms marked by glaze, paint and crackle glazes that read as both skin and history. In metal and paint I attend to the slow chemistry of oxidation and the layered poetry of surfaces left to weather. On paper I work with pigment washes and ink, allowing earth tones to pool and bleed while responding with spare, calligraphic marks that neither illustrate nor fully enclose.
Across these media I return to the same questions: how materials record the passage of time; how fragility and resilience coexist; how stillness can be held within surfaces that are already transforming. I am less interested in fixed images than in residual forms, thresholds, and the subtle negotiations that arise when hand, material, and process meet.
My work invites close looking—an attention to what is often overlooked: the eloquence of the weathered, the beauty of the incomplete, and the quiet intensity of materials in the process of becoming something else.
My practice centers on the quiet tension between presence and absence, control and chance, structure and entropy. In clay I explore the meditative body—serene figures and fragmented forms marked by glaze, paint and crackle glazes that read as both skin and history. In metal and paint I attend to the slow chemistry of oxidation and the layered poetry of surfaces left to weather. On paper I work with pigment washes and ink, allowing earth tones to pool and bleed while responding with spare, calligraphic marks that neither illustrate nor fully enclose.
Across these media I return to the same questions: how materials record the passage of time; how fragility and resilience coexist; how stillness can be held within surfaces that are already transforming. I am less interested in fixed images than in residual forms, thresholds, and the subtle negotiations that arise when hand, material, and process meet.
My work invites close looking—an attention to what is often overlooked: the eloquence of the weathered, the beauty of the incomplete, and the quiet intensity of materials in the process of becoming something else.
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