My long-running series of sculptures entitled   Open Forms   are depictions of provocative architectural abstractions that play with tension between solid and negative spaces while simultaneously creating an illusion of defying gravity; the pieces appear to displace weight and push volume.   
 
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       The interior of these forms vacillate between full and empty while a fluid, hand-carved grid of lines wrap their way around the exterior of the object. Paradoxical components create a delicate balance of opposing forces that squeeze and push their way in a symbolic explosion of elements forced to harmonize and coexist in synergy. The final sculpture is calm and content, giving the viewer a breath of ethereality embodied within each piece.  Built up and cut away, a solid slab of clay becomes an arrangement of repetitive spaces that resemble lace, a complex exoskeleton, or scaffolding of the original form. The act of removing clay in my hand building is just as integral to the building up of the complex constructions to achieve their final composition. Light filters onto carved edges and defines shadows and lines.  Engobes and under glazes are applied to the clay’s surface at a variety of stages-- before or after the bisque firing.  Surface color enhances the mood and compliments the curves and folds, treating the eye to a painterly palette of soft and weathered hues layered over one another.  My passion for creating runs directly and intuitively through my hands. The meditative labor-intensive time spent on the work is how I connect with myself in wordless communion.  My work is a constant exploration of imaginative, organic forms extracted from the architectural structures in nature and translated into the clay forms you see here. Emergent design pushes these contemporary clay forms to Art. In both my   Open Form   and   Dotted Vessel   series, I choose either a patina or deliberate pattern, which serve as a contemplative connection between the piece and its audience. Creating objects of reverence and rich visual tactile complexity continually inspires me and provides a powerful sense of purpose to my work.

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My long-running series of sculptures entitled Open Forms are depictions of provocative architectural abstractions that play with tension between solid and negative spaces while simultaneously creating an illusion of defying gravity; the pieces appear to displace weight and push volume.

The interior of these forms vacillates between full and empty while a fluid, hand-carved grid
of lines wrap their way around the exterior of the object. Paradoxical components create a delicate balance of opposing forces that squeeze and push their way in a symbolic explosion of elements forced to harmonize and coexist in synergy. The final sculpture is calm and content, giving the viewer a breath of ethereality embodied within each piece.

Built up and cut away, a solid slab of clay becomes an arrangement of repetitive spaces that resemble lace, a complex exoskeleton, or scaffolding of the original form. The act of removing clay in my hand building is just as integral to the building up of the complex constructions to achieve their final composition. Light filters onto carved edges and defines shadows and lines.

Engobes and under glazes are applied to the clay’s surface at a variety of stages-- before or after the bisque firing.  Surface color enhances the mood and compliments the curves and folds, treating the eye to a painterly palette of soft and weathered hues layered over one another.

My most recent work is on a series I refer to as my Inflatable series, which captures the pressure of air pushing from the inside out. The impression of pressure building inside and stretching against the walls creates a perception that the piece is a living, breathing entity. In this case, instead of removing clay, I focus on a rich layering on the surface with dancing dots, drip, and color. The large, ballooning form balances on small, nipple-like legs. The curves and dimples suggest anthropomorphic characteristics and echoes individual, human personalities. 

My work is a constant exploration of biomorphic structures in nature and translated into the clay forms you see here. In both my Open Form and Dotted Vessel series, I choose either a patina or deliberate pattern, which serve as a contemplative connection between the piece and its audience. 

Creating objects of reverence and rich visual tactile complexity continually inspires me and provides a powerful sense of purpose to my work.