I like to think I make pretty pots because the world is ugly and that feels like an appropriately subversive response. I work purposely and slowly with porcelain, building dense tedious surfaces with black liner, synthetic colorants, underglaze, gold luster, and rhythmic repetition as both method and vehicle to contribute to ceramics.

Fancy goldfish and flowers show up a lot. References come from huaniaohua painting, irezumi tattoos, Duchampian mischief, and whatever I need to finish the story on the surface.

I like to think I make work to tell a story, for skill development, the love of the process, feeding curiosity, responding to external stimulus–whatever gets the dopamine flowing–amiright?.

I see creating a surface as accumulation—of influence, labor, perception, and personal history—amalgamated arrangements. The work is for viewing and is meant to fulfill its use. Pots are for living with. If the work gives you a moment of joy, friction, or pause.

I teach, research, and live in Kansas City with two cats named Wabi and Sabi. My studio is out of 323Clay where I gratefully appreciates being a part of that community and the broader ceramics community at large.