Artist Statement
My work consists of functional pottery, and my intention is to create aesthetically satisfying and well-designed utilitarian wares. The intimacy of functional pottery comes from its interactive nature. I love creating artwork that people can interact with and enjoy.
My work is primarily thrown on the wheel but includes hand-built and altered elements. The complementary relationship between surface and form is the most important element influencing my surface design decisions. I choose forms that fulfill their intended utilitarian use but also create a canvas for pattern. I strive for patterns that are organized and calming to the human eye by using balance between positive and negative spaces. The lift and soft curves of the forms that I use are influenced by historical Iranian and Asian pottery as well as contemporary ceramics. These historical pots have rise and grace but are bold and sturdy. Integrating those seemingly disparate elements is a primary goal in my work.
Glazing gives me a great deal of pleasure and is critical to my surface patterns. I leave an area of exposed clay; the tactile contrast between surfaces of the rougher bare clay and the smooth glazed surface brings an additional layer of sensory awareness of the pot to the user. I alternate between high fire stoneware and porcelain chosen carefully according to the behavior the glaze. I use a glaze palette that fumes or runs to disturb and vary the areas of exposed clay. My goal is to create an experience of contentment for the user while creating functional objects that radiate confidence.
My work consists of functional pottery, and my intention is to create aesthetically satisfying and well-designed utilitarian wares. The intimacy of functional pottery comes from its interactive nature. I love creating artwork that people can interact with and enjoy.
My work is primarily thrown on the wheel but includes hand-built and altered elements. The complementary relationship between surface and form is the most important element influencing my surface design decisions. I choose forms that fulfill their intended utilitarian use but also create a canvas for pattern. I strive for patterns that are organized and calming to the human eye by using balance between positive and negative spaces. The lift and soft curves of the forms that I use are influenced by historical Iranian and Asian pottery as well as contemporary ceramics. These historical pots have rise and grace but are bold and sturdy. Integrating those seemingly disparate elements is a primary goal in my work.
Glazing gives me a great deal of pleasure and is critical to my surface patterns. I leave an area of exposed clay; the tactile contrast between surfaces of the rougher bare clay and the smooth glazed surface brings an additional layer of sensory awareness of the pot to the user. I alternate between high fire stoneware and porcelain chosen carefully according to the behavior the glaze. I use a glaze palette that fumes or runs to disturb and vary the areas of exposed clay. My goal is to create an experience of contentment for the user while creating functional objects that radiate confidence.