work thus far has primarily been an exploration of form. Whether it
is the welcoming openness of a platter or the walls of a jar that
curve just right, my goal is to create an aesthetic experience in
every piece. When you hold a piece of stoneware, it should hold
something beyond utility. It should be a joy to use, and give you a
reason to reach for it again and again. How a cup fits your hand
should make your tea a little sweeter.
raku, on the other hand, does not feel the constraints of utility. It
is not fired at a high enough temperature to vitrify, so it cannot
hold water or be used for food. This can be a cognitive challenge for
some, as sometimes the form implies utility, but I enjoy blurring the
line between functional and sculptural ceramics. I want the viewer to
see beyond what a handle does; I want them to see how a handle is an
important part of the form.
work in both functional stoneware and raku. The stoneware is meant to
comfort; the raku is meant to challenge. The spontaneity of raku
balances the deliberateness of stoneware, which helps me stay
balanced and inspired as an artist. Both are wheel-thrown, trimmed,
and bisque fired before they part ways for separate final firings.
was born and raised in Nashville, Tennessee, where endless creativity
can be found everywhere and anywhere. She caught the art bug early,
for which she credits her mother, a former art dealer. She studied
art at Furman University, concentrating in graphic design and
ceramics, and graduating in 2015. While at school, her professor
introduced her to horsehair raku, which is still her favorite firing
technique. A successful senior exhibit featuring horsehair raku
enabled her to afford a wheel and kiln, and kick start her business.
graduation, she moved to Spartanburg with her now-husband Stephen.
She joined the West Main Artists Co-op in the fall of 2015. Since
then, her work has been shown in galleries in South Carolina,
Georgia, and at local art fairs.