I moved to Los Angeles with my parents when I was 15. An adopted daughter of California, I was impressed by the ability of this land to nurture, or to take life, to give profusely, or to devastate with the harshness of desert frugality and the draw of the luck. I sought to come to terms with the fine balance between one’s own life and giving up scarce resources to sustain another.
I record stories that this process tells, of the tradeoffs between growth and decay. I like to capture the moment of hope balanced against a more likely disappointment, to track lack and profusion, expansion and retreat, erosion, accumulation, dryness and flow. I am trained as an economist with an eye for the constrained optimization and the give and take of purpose and resource that ensues. I am drawn to the duality of scarcity and abundance that exists in the environments on the edge, where a dried, roughened or hardened exterior contains swelling fruit and seed, or burst of extravagant colored bloom throws all to hope in an otherwise reserved landscape. Such extreme surroundings bring to life for me the interconnectedness of these two outcomes of existence that I want to capture and re-tell. The suggestion of a husk, a seedling sprouting from a dying leaf, a fruit swelling in a dried shell narrate the possibilities.
I approach my work sculpturally. Round forms are wheel-thrown or made from slabs into closed forms which are then altered or cut and reassembled. Addition and removal create textures that become witness to the processes at play. The firing process is chosen to fit the piece: raku for a charred effect, cone 6 oxidation for an occasional bright color in in an otherwise muted palate. Most pieces are fired to cone 10 in reduction with the introduction of wood ash to the kiln at cone 9, or wood ash is placed directly on glazed ware to induce the interaction between flux in the glaze and ash. Smaller forms can be grouped or displayed inside larger vessels.