Never Leave Well Enough Alone

When we imagine the equipment inherent to a traditional pottery studio, some of the first objects we think of are a pottery wheel, ware racks, and a kiln. In many ways, this image of the potter's studio has remained unchanged over time. However, it is becoming more common to find contemporary technologies from other fields working their way into studio potters’ practices. Decal printers, 3D printers, and die-cutting machines are becoming more prevalent, opening up a plethora of possibilities for new discovery, efficiency, and refinement. Much like the invention of the electric pottery wheel, new tools and technologies arise out of necessity for advancement while offering the ability to perform tasks with greater ease. This in turn allows us to use our minds and hands to focus on higher levels of problem-solving within the creative process. Successful use of technology is one that is integrated and constantly evolving with the maker; it does not replace or diminish the artist's unique creative intentions. 

Visually inspired by textiles, patterns, and illustrations, my journey toward finding my artistic voice came from a desire to create pottery that was colorful, graphic, and well-defined. Armed with little knowledge or access to outside technologies, my early experimentations began with hand-cutting plastic stencils and craft-punching paper as a way to explore repeating patterns on functional ceramics. By combining hand-cut stencils with underglaze I can apply imagery to flat slabs that can later be draped over a hump mold and transformed into a functional object. It's a simple technique, but over time, working only on a flat surface felt finite; using premanufactured craft punches and hand-cut plastic stencils was limiting and inefficient. The handcut plastic stencils were brittle, easily compromised through washing and reuse, and would eventually break and need to be re-cut. However, this method was an accessible way to begin using a specific combination of materials and techniques with a low financial investment. These were the earliest inceptions of what would become my body of work today.