Senior Capstone Project

When I create art, I take pleasure in removing elements from their original context, allowing the viewer to consider their own meanings and interpretations of my creations. I’m working on a series of ceramic sculptures inspired by the concept of microorganisms found in nature, which I enlarge to a macro scale, extracting the object from its usual context. A lot of my time is spent outside in nature, hiking, collecting rocks, photographing specimens and more. Traditionally, the micro-macro technique is one I employ in photography; however, once I incorporated this idea into my ceramic work, it unveiled an entirely new realm for me to investigate with my ceramic sculptures.
Texture plays a central role in my work. I explore a range of surface qualities, with a particular focus on carving and the application of additive slip to unify each piece through a cohesive surface texture. These textures are not merely decorative; they are integral to enhancing and reinforcing the essence of the form.
All of my sculptures are hand-built rather than wheel-thrown, a process that demands both time and patience. Clay is an unforgiving material—it resists gravity and is prone to slumping during both drying and firing. Much of my work intentionally challenges these limitations, as I construct forms from thin cut sections of clay that push against structural constraints. To achieve this, I carefully manage the consistency of the clay throughout the building process. Maintaining an even level of firmness is critical; if any section becomes too wet or too dry the entire structure is at risk of collapse. Because of this, patience and timing are essential elements of my practice.
The finishing process is equally deliberate. I select glazes that complement and activate the surface textures of each piece. My approach involves extensive experimentation with glaze formulations—including crater, running, and breaking glazes. I test each glaze across the various textures I create, allowing me to determine the most effective pairing before committing to a final surface. This process of glaze development is a vital part of my artistic practice, contributing as much to the final work as the construction of the form itself.