My work stems from functionality and is currently in flux.
I Desire for observers to find interest in the form and presentation of an idea as well as connect on a personal, emotional level both with the art object and their immediate community.
I am concerned with connectivity through our shared humanity and the valuable role that beauty plays in building community.
The power of an image, symbol, color, or shape to evoke emotion, and potential connection is fascinating and worth exploring.
Land, place, and home take a role in my work. I believe our visual surroundings have a deep and sacred impact on who we are and how we interact with our world.
I hold a personal ideal that the art or object itself must be more than compelling. It must be well crafted, carrying the potential to be considered beautiful or in the least, a vessel of truth. I hope to make space for the arts to be for and about those who may not find themselves naturally drawn to or understanding of artistic practices. Why does this seem a worthwhile focus, or at least consideration? I simply think we could all use something more to bring us together.
The bulk of my practice in the past fifteen years has stemmed from functional ceramic approaches. The building components and the potential for creating a work of art thats base purpose is to bring people together around form, function and design have satisfied the ongoing concern of mine that art should bring people together. This work has more recently morphed into a study of various surface techniques within the functional form, seeking to unify two dimensional possibilities of narrative and imagery on functional three dimensional forms, or to leave function behind entirely.
I continue to feel on the cusp of something new in my practice.
Explorations in surface design and printing coincided with my introduction into motherhood. I first attempted to separate my identity as an artist and a mother. I avoided acknowledging that growing, birthing, and caring for another human had created a shift in my being and in my art practice. I worked to isolate my identity as an artist and maker. Hoping for it to live separately, away from my mothering role and identity. I wanted to prove I was unchanged, though ultimately, I found that to be untrue. Doesn't every moment shift us? So how could I be unchanged? I have now made room, and allowed a shift, working towards accepting my mothering identity and welcoming it into my artist identity. Ultimately opening up to considering it’s role in my practice and aesthetic. Even more than that, I have come to believe that mothering is a narrative not only worth sharing but that must be addressed in our world today.
Samuel (4) with my work
"Reflections on the Garden"
My Space, My Studio
SMALL SPACES, BIG IDEAS.
I've heard, and I've been known to say. Make what you can with the space you have. Not having the space is never an excuse for abandoning your practice of creativity. My space is small, so my work is often small, a reflection of the way in which the work was created. I choose to to embrace this space.
During the summer of 2017 I expanded from my kitchen corner table studio space to a renovated camper trailer. Follow me on instagram for current endeavors and process stories.
THE STORY SO FAR...
Where to begin when telling a story that is still (and always will be) in process?
I can say art has been an interest and habit of mine from a young age. More than that though, curiosity and an intentional way of seeing have long permeated the way I interact with the world.
Coloring books and playdough led to charcoal, oil paints, and my true love, clay. My own interest in making (and the many makers who influenced me along the way) led me to my passion for teaching. Teaching in turn has provided me the chance to be a part of other maker's stories. This intersection in learning and living side by side is a deep joy of mine and provides inspiration to keep working and exploring.
Here I am in the middle of my story, a woman, a wife, a mother, a maker.
Where will we go from here.