Over the years, I’ve learned to never assume anything at face value. How people carry themselves physically does not necessarily reflect their mental/emotional state, race does not necessarily reflect cultural upbringing, and gender is not a limitation. In my ceramic work, I explore the potential disconnect between external and internal through both the figure and utilitarian forms.

            In my figurative work, I upon a constructed mythology in which each animal portrays a different aspect of myself. I often select animals with a masculine quality and juxtapose that with body language not usually associated with masculinity, one that speaks of tenderness and vulnerability. In recent iterations of my figurative work, I’ve begun to integrate architectural structures into the body, adding new imagery to the narrative. Because for me, clay is reminiscent of the body, whether figurative or functional, my utilitarian forms also explore these themes, pitting the instinctual interaction with the object against its intended use. Scaffolding-like structures encase wheel thrown forms in silhouettes that obscure, creating objects that require inspection to discover their intended use. The act of inspecting the interior form in turn becomes a metaphor for getting to know an individual beyond their appearance, beyond stereotype.