Statement 2025

My creative practice understands the studio as a site of transformation and becoming, for materials, objects, and myself. Working at the intersection of sculpture, site-responsive installation, and craft, I use ceramics as both medium and process to investigate labour, tools, systems of organization, and the poetics of workspaces. Found objects and everyday studio materials function as generative prompts, activating processes of mould making, slip casting, and material translation.

I work primarily with low-fire clay bodies in electric and atmospheric kilns, combining glazed and raw clay surfaces with alternative cold-work finishes such as latex, wax, and paint. Ceramic processes are frequently extended to non-ceramic materials: organic matter dipped in clay and burned out during firing, fired ceramic shells formed around industrial substrates, or adobe-based “skins” applied to found objects. These material strategies allow me to explore ceramics as a transformational logic rather than a fixed medium.

My installations are composed as spatial paintings; collections of handmade sculptural objects arranged to respond to the architectural, historical, and material conditions of a site. I am interested in how viewers navigate space and how attention is directed toward overlooked or peripheral zones: behind curtains, into corners, or upward into ceilings rafters. Common studio tools and objects become protagonists in these installations, transformed into unfamiliar or “magical” forms through material, repetition and process.

Situated between contemporary craft, sculpture, and installation, my work employs a feminized lens to reconsider traditionally masculinized spaces of making, foregrounding labour, care, and material intimacy as central sculptural concerns.