Artist Statement

I make utilitarian pots using a precise, clean, and efficient geometric language as I try to define perfectly handmade. The act of making allows me to practice my craft repeatedly while looking for the nuance of how much evidence of handwork I put in and how much hand I take out.

I am curious how functional pots continue to retain relevance in our evolving and modernized society. I believe this importance is due to our innate need for connection to expressive and creative thoughts. Working as a functional potter provides me an opportunity to invent objects that fit into daily experiences that enhance the user’s life through the use of originally designed and exquisitely crafted objects. The resulting establishment of a personal connection between the user and the maker through the object is reserved only for personal production for personal use.

The simultaneous attention of the user on the objects and the attention of objects on the user speaks to the unique nature of personal production for personal use. The constant refocusing of the viewer/user allows a more conscientious operation of the objects, hopefully presenting questions of what is perfection and what occurs when the popular aesthetic definition of handmade is circumvented.

Discussion Q&A

Why are the pieces expensive?

I feel that being able to buy an original piece of individually handmade artwork for $75 is an amazing bargain, and of exceptional value as compared to other original handmade works in other media. I understand expensive to be a highly relative and subjective term that is more shaped by a person’s experiences and opinions than anything else. Frequently, when someone learns what it takes for me to make a piece, they no longer feel my work is expensive.

I understand the definition of expensive to be something that costs more in comparison to what someone is used to paying for similar items. I ask in return, my work seems expensive as compared to what? My pieces are not the same as other commonly encountered industrially produced ceramic wares. Please keep in mind my pieces are individually made by one person using premium materials as opposed to anonymous mass production with a division of labor using the most inexpensive materials possible. Within the field of Ceramics I do compare my prices with my contemporaries in order to stay consistent. I do not want to undersell anyone else’s expertise or overvalue myself.

What makes your work worth its price?

Ultimately I see this question as more for the buyer than the maker, as when the work sells it therefore becomes worth the price, but I’ll take a go at answering it. The easier aspects to explain would be the quality of pieces due to techniques, labor, skill, materials, and rarity. The more difficult aspects to explain would be why concept, position in the field, and curatorial accreditation raise prices. 

Considering supply and demand and acknowledging that I produce very few pieces per year, the high value we frequently associate with marketing terms of “limited editions” or “one-time drops” are true for me as well. I don’t release very many pieces in order to ensure the quality of the ones I do release. I use the absolute highest quality materials along with best practices in pursuit of pure technical perfection. I use a few exotic materials both in my clay and in my glazes that industry and production potters will not use because of their cost. I use them as I have zero compromise in my efforts to produce the highest possible quality achievable. I am a ceramics technical nerd, and I love learning about all things in the ceramic process. I test new recipes constantly, respond to the results, and test some more trying to continually outdo myself. This habit of desiring technical betterment has been a difficult path to stay on, and I’ve gotten off at times because it’s too difficult, but I come back to it and completely believe in the quality of the work that habit now allows me to make. I establish the highest of standards for technical flawlessness associated with concepts surrounding perfectly handmade, which means a small glaze crawl inside a footring will disqualify a piece from being labeled as a first. Wabi-sabi, and the acceptance of imperfection, has no place in my studio practice.

Throughout my time learning how to make pots, I have greatly enjoyed studying and researching the field of Ceramics. The old stuff, the new stuff, all of it. I try to use everything I’ve seen as a guideline for what not to make in pursuit of originality. I hope my combination of concepts, techniques, and historical awareness begins to make my work feel original. When trying to consider public acceptance and accreditation, I am honored to have been acknowledged by organizations like the National Council for the Education on Ceramic Arts (NCECA), Arrowmont School of Crafts, The Society of Arts and Crafts, and others while exhibiting in various shows around the world. At this point in my career, I can say that I have been accepted and accredited by the critical and curatorial communities that oversee the field.

Since slip cast pieces are made in a mold, shouldn’t the work cost less?

This question implies a comparison to pieces that are hand built or wheel thrown. I work in all three methods, hand building, wheel throwing, and slip casting, and I can say with absolute confidence that slip casting is by far the most difficult and time consuming process of the three. Slip casting requires several additional skill sets beyond hand building and wheel throwing, which is at least part of the reason why the technique is less popular in a studio practice setting.

Every once in a while, someone teaching ceramics assigns students a research project based on artists featured on ArtAxis and I get a few questions. Here are the most popular ones:

What inspires your work?

I love well designed and exquisitely hand-crafted objects. I first learned to love these types of objects when I was very young. I am motivated to make functional pots by the feelings from using and thinking about functional, handmade, pieces of art. The non-verbal communication inherent to visual and tactile art is particularly elegant to me.

I believe in being a student of the materials, and ceramics is endlessly fascinating to me. I love heavy process-orientated activities that my efforts towards chasing perfection is the reward in itself.

Generally, I believe Chuck Close when he said;

“Inspiration is for amateurs. The rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself.”

What influences your work?

I willingly let everything in my life influence my artwork. At times, I feel I express my feelings most accuratly through the objects I make. I know what I like when I see it, and I try to bring cool things into my work. Within art, I look hard at DeStijl, Minimalism, Art Deco, Frank Lloyd Wright, and Santiago Calatrava among others. Outside the art field I source Razzle Dazzle camouflage, snow/skate/bike/athletics cultures, and all (what used to be) counter-culture styles. When I’m making decisions with each piece, I try to use everything that I’ve seen in the field of ceramics as a rulebook for what I should not make, because it already exists. I want to try and find the new, and in a medium like Ceramics with its very long history, that is a tremendous challenge that I greatly enjoy.

What historical period of ceramics or art movements do you look at most and why?

Modernism, Minimalism, DeStijl, and Suprematism are my most frequented. Greek terracotta pots from late BC, with red clay with black slip sgraffito. The ones in The Met. Those silhouettes can portray amazing stories.

Ban Chiang pottery. The forms are dynamic and the geometric surface motifs enhance each other.

I also enjoy studying the history of ceramics in industry.

Are your protoforms 3-D printed? Can I see your files?

Before I got a 3-D printer in 2024, all of my original shapes were made out of MDF in the woodshop by my hands, so I have no files to offer of those forms.

Since moving to 3-D printing, and believing in the ethos of the open source movement, I am publishing my research on {printables?} here and here. I want to be open source, and give my research to others to learn and build from, and I also want my pots to remain exclusively made/licensed by me. So I’m publishing my digital mother mold research in Fusion 360 files, but they do not have my original shapes in the molds, that part is up to the maker.

What kinds of methods do you use to create your work?

Before 2024, all of my forms started with good ol’fashoned pencil and paper 2-D orthographic projection drawings. I utilized mechanical drawing tools such as a drafting table and sliding square, and I cherry pick from those skills to get to a resolved plan on paper. I then constructed the form in the woodshop using an array of woodworking techniques. Once I had the form made, I made plaster molds, then slipcast the objects.

After 2024 and adopting 3-D printed mother molds, I “draw” all of my work in Fusion 360, then create a digital model of the plaster mold I want, then create a digital mother mold. I then 3-D print the mother mold, cast plaster into them to create production molds, and continue slip casting from there.

I calculate all of my own clays and glazes, so some chemistry as well. When addressing the surface, I use a variety of techniques, including underglazes and decals, but the primary technique is careful glaze application and lots of cold wax masking. The screen printed underglaze transfers and the overglaze decals I use start as sketches on paper, then go digital into Illustrator, and are hired out to be printed in color. Finally, a lot of photography work to make the images that go out to a larger audience, and website design to share online.

Describe your favorite ceramic piece- either yours or by another artist.

Kazimir Malevich’s locomotive teapot. He designed it in what might be the first artist-in-residence-in-industry program ever at the Lomonosov Porcelain Factory in1923. Looking at that pot gave me a lot of freedom in thinking about shapes that originate from outside the potters wheel. A few years after learning about this pot, I held a reproduction of this pot in the museum store at the Corcoran Gallery of Art. Not buying it in the moment became my greatest non-buyers remorse, and 15 years later I found it on a Russian Import online store and bought it. Here’s the pot living at my desk, that I look at everyday.

[Image of Malevich teapot]

How many pots do you think you’ve made in your life?

Hopefully, more every month. Grand total, I’m guessing I’m in the low tens-of-thousands, most of which are in various shard piles around the US. I’ve always scrapped more than I’ve kept to preserve quality standards. The number of pots I’m really proud of is how many pieces I’ve helped others make throughout my teaching career.

What clay and glazes do you use? Can I have the recipes?

I make all of my clays and glazes from composite source materials. I research, calculate, test, respond, recalculate, and test again on a repeating cycle in an effort to be constantly evolving. I am active on Glazy.org, you are welcome to find and use my recipes for clay and glazes there and [here, link]. If you do so, I appreciate attribution and would love to hear about your results on Glazy so others may learn from our experiences as well.

How has your practice influenced your life, and how does your life influence your practice?

It’s impossible for to me to clearly delineate what is my life vs what are my influences as my work stems from acts of living life. My studio practice has influenced my life dramatically once I committed to it at the end of college. I moved from California to Washington to Alaska to Ohio to Montana and back to Washington all in the name of my practice. All of the places I lived, most of the people I’ve met (including my wife), are a result of me chasing my artistic dreams. I see the most important aspects of my life reflected in my work. I see a lot of hard work through repetition resulting in refined objects. The same way hardship over the years has matured and refined me, hard work and continued effort have refined my artwork.

When did you first begin working in clay?

I started with clay on the dining room table after dinner when I was young. My mom loved making things, and clay was one of many media we played with over the years. In high school I learned to throw on the wheel and that changed my life. Working on the wheel was magic for me. Then it took me a little while to find my way to the art department in college, but once I did I never looked back.

Are there any specific political/ environmental/ economic/ social issues that influence the content of your work?

No, I’m not interested in making those types of statements with my studio practice. I do believe Black Lives Matter, I stand as an ally for all LBGTQ+ people, and I vote.

I do believe that living with artwork improves our lives, and the more handmade objects we have around us the better. Mass-consumerism is problem, and I think slow things…slow food for example, are a lot better and more ethical that fast food.

Why ceramics over other mediums?

I love clay, in all forms. I think clay might be the most versatile material I’ve ever worked with, and one of my favorite things about the material is how many different ways different people can expresses themselves with it. I see clay as a demanding material, one that we have to agree with to get along with under its own terms. Clay won’t do anything we wish it to, and over time I have come to greatly enjoy practicing empathy with an art material. Ceramics is also very complex in terms of the technical aspects, which I love delving into and trying to figure out. There’s always a problem to solve or an improvement to be made. I have a continuing  interest in making functional objects, and ceramics is an ideal medium from a durability and creative perspective.

What is your favorite aspect of being a ceramicist, what is the worst aspect?

My favorite time is opening the glaze kiln and seeing if it worked. Worst aspect has changed over the years, initially it was opening the kiln and seeing all the mistakes I made. Over time I got better, and the ratio of failures to successes got better. Now, my least favorite aspect of ceramics is the low prices of ceramics compared to other media.