The content of my work regularly involves social commentary. I use a combination of humor, realism, current issues and sarcasm to create pieces about the experiences and struggles with addiction, mental illness, environmental issues, pollution, extinction, sexuality and gender. My work spotlights life’s ephemerality and the need for conservation, especially the diminishing numbers of endangered species. I build the figures in my work from a solid piece of clay. When the clay is leather hard the figure is cut apart, hollowed, then carefully put back together before the details are added. The boxes in this body of work are constructed from slabs of clay then bisque fired. Holes are drilled into the clay body before the piece is fired again to cone 04. I use underglazes and low-fire glazes performing multiple firings to get the desired result. Mixed media and metal attachments are added post-firing.
In this millennium of technological neurosis and preoccupation with interconnectivity I am taking a different, more tactile approach to my artwork. In the past I have relied solely on visual narrative, strong design and excellent craftsmanship to engage the public. I am continually working on a series of interactive ceramic pieces that invite manipulation and engagement. Children’s toys and learning activities inspired these creations which include doors, hinges, and moving parts fashioned from media traditionally characterized by its’ fragility.
I challenge the standard law which prohibits interaction or handling ceramic artwork. These ceramic sculpted boxes, vessels, and small installations encourage normally cautious spectators to be participants in an amended relationship between art and viewer.