Ceramic Color clay inlay, stoneware clay
My work is constantly evolving and draws upon many influences; from fine art to folk art and the everyday handmade. I’ve come to see my figurative work in sculpture as modern day folk art. There is no single definition of what folk art is, but the definition that resonates with me most is as defined by the Museum of International Folk Art in Santa Fe, New Mexico: Folk art is “of, by, and for the people; all people, inclusive of class, status, culture, community, ethnicity, gender, and religion.” I deeply identify with this definition, and believe that it speaks to the totems/Protector people that I make. But beyond being artful pieces, I like to think of my Protector people as spirit beings; as altars and/or totems that serve as an emblem of the importance of nature and our relationship to it, and the sense of connection and appreciation that I derive from being in nature. I see them uniting the animal and the spiritual, as well as the earthly with the mystical. I use glaze sparingly in my work, as I rely mostly on the clay to inform and inspire me. I only use iron oxide stain, low fire color glazes, and more recently, I have been experimenting with the minimal use of a gold luster glaze. The iron oxide has a beautiful metallic sheen and lends a graphic contrast to my designs and the gold luster creates a sense of illumination, timeless purity, and light.