Historically, basic hand building techniques developed across cultures out of necessity. This rudimentary aspect of pottery is at the core of my process. Over time a trend has emerged emphasizing innovation and uniqueness. Compositional elements of surface decoration are equally as important as form and function in contemporary art. I’ve recently begun to question what composition means to the hands before the eyes. I wonder what pots people would choose to include in their daily life if it were based merely on the way the object feels. Does it hold their attention? Does it make them question the process? Is it simply a meditative object to them? I’ve begun to implement subtle textural variations in patterns derived from the form. Some are hidden under feet and inside handles. I want them to be found instead of seen, requiring physical attention. Visual components of colored slips and inlaid lines interact with the textures and form. I currently explore wood fired surfaces that might act as a visual backdrop for the textures, patterns and inlaid lines in place prior to the firing. I overlap and blend together these elements in an attempt to create layered, tactile objects of daily use.
It is important to me to surround myself with hand-made objects that serve their function well. I hold the work that I create to this same standard. Considerations of surface to form relationships, importance of craft and function, and the necessity of physical attention provide me with ample room to continue development and expansion of my work.