The act of creating has been an integral part of my identity since childhood. Having been surrounded by mountains, woods, and a large family for most of my life, my relationship my community and the landscape around me have seeped into everything I make. 

The dinner table is a sacred space; somewhere for people to gather, connect, and grow together. I am endlessly fascinated by the ceramic vessel’s ability to facilitate intimate moments of connection; to bring beauty into daily rhythms and invite curiosity, while humbly serving a purpose.

Clay is a wonderful material that allows me to tap into my youthful wonder and fascination with the textures, processes, colours, and patterns of nature. Whether handbuilding or throwing clay, I enjoy the process of getting to know and understand the material; exploring gritty textures and gentle forms reminiscent of the weathered rocks and rolling hills I explored as a child. Working in this way has provided space to process my response to change and the physical space I occupy and to better understand the influences that inform my creative process.

Wood firing is an unpredictable, laborious method of firing that involves days of loading and stoking the kiln to cover the pieces with ash, which melts into the clay at high temperatures. Wood firing relies on a community of people to stack and split wood, load, and fire the kiln. I choose to fire my work this way for the unique and dynamic surfaces and the earthy tones and textures that speak to my sources of inspiration. The communal nature of wood firing has also become an important and exciting part of my making process, collaborating with other makers and their work to build community, learn, and create beautiful objects.