I love old tools-- they highlight our human commonality, not our differences, over time. As, say, a mug-maker, I am no different than a potter from Mesa Verde Pueblo 800 years ago or Xianrendong 20,000 years ago. And when that mug is beautifully arresting, and its form and feel demand attention, then I have tapped in to what it is to be human. I have made a tool not just for holding a hot drink, but for holding our humanity.

My work is to be in relationship to the user, not just in service. I decorate with slip because it is clay: I love its painterliness, how it holds subtle color and texture no matter what kiln atmosphere it is subjected to, which is why I fire in both an electric and soda/wood kiln.

The imagery on my pots is very personal, usually from travels and experiences where I feel awe and mystery. Anger and frustration may show up in my work when politics and injustice cannot be ignored, but connection is far more inspiring to me and always seems to make for better pots.I love old tools-- they highlight our human commonality, not our differences, over time. As a mug-maker, I am no different than a potter from Mesa Verde Pueblo 800 years ago or Xianrendong 20,000 years ago. And when that mug is beautifully arresting, and its form and feel demand attention, then I have tapped in to what it is to be human. I have made a tool not just for holding a hot drink, but for holding our humanity. My work is to be in relationship to the user, not just in service. I decorate with slip because it is clay: I love its painterliness, how it holds subtle color and texture no matter what kiln atmosphere it is subjected to, which is why I fire in both an electric and soda/wood kiln. The imagery on my pots is very personal, usually from travels and experiences where I feel awe and mystery. Anger and frustration may show up in my work when politics and injustice cannot be ignored, but connection is far more inspiring to me and always seems to make for better pots.