Artist Statement 

I make art in an attempt to hold the tension I feel in the world around me. Working across clay, photography, and sound, I’m drawn to processes that activate my body and force me to be present. Ceramics, self-portraiture, and sound all pull me into a more immediate, more vulnerable state. This practice often leads to objects or images that seem to remember for me—interpreting experience and translating emotion when I fail to find the words.

My work is shaped equally by lived experience and by research, conversation, and reflection. I’m interested in individualism, isolation, and collective consciousness—examining how social, economic, and political structures shape behavior, how we enforce or resist them, and how we define ourselves within the bounds of circumstance and perception. The history of ceramics as both a functional tradition and a record of labor informs much of my practice. Since its origin, pottery has been bound up with societal needs and systems of power—from emperors commissioning the perfect blue pot to today’s unbreakable tie to capitalism. This lineage is complicated: function becomes product, and making is molded to match demand. I hold this history close when working with clay.

Reading and writing are foundational to my process, and most projects begin with a question or feeling I can’t ignore. Rather than aiming for resolution, I try to define the shape of a tension—something that feels authentic to my core beliefs. I grew up surrounded by people who now hold views that directly oppose mine, and I am trying to understand what it means to hold love and hatred in the same breath.