The best part of being a boy scout was to explore the California wilderness with my friends where we would often stumble upon litter or someone’s abandoned dwellings. Seeing what was left behind, we would try to imagine whose it was and why they had left. In my early twenties, I would visit a cabin in the woods and with the carefree nature of early adulthood, I would leave behind my own detritus. Suddenly, I had become what had spurred my curiosity so many years ago. Now, the work that I make in my own studio is a combination of what is left behind, by both myself and others.
There is something fascinating about the unexpected; the thrill of chaos propels me to work in spontaneous ways. My process in creating vessels and wall works is physical, I work to manipulate the material directly throughout different stages until a form emerges. In this symbiotic relationship between my process and me, I hope to understand myself through constant stimulation of the material. I am drawn to the unpredictability of clay, glaze and glass used in combination with one another. As I work with materials, I am interested in bringing beautiful form and surface to the overlooked and forgotten places I see each day, pulling textures and compositions from memory. These could be familiar spaces, aspects of abandoned buildings, or trash I see on the side of the road, any remnants of decay or ruin that one may define as detritus.
In my studio, the unconscious arrangement of objects is what drives my work. I draw inspiration from an accumulation of wood by the road, to a cigarette in a tide pool. The destructive remnants of humanity are altered by time, but in my studio, I feel as if I can preserve these moments by composing the scenes in which these objects exist. As a director or curator of these past and present sets, I can arrange universally recognized products and intertwine them with my personal memories to preserve what is forgotten or no longer important. I love the challenge of trying to make things work together, adapt to each other visually and technically - to be purposeful in their substance and in their value and meaning. A cigarette or a crushed beer can may be a discard, or the thread that ties two people together. I try to translate these moments that may soon be gone into a material statement that will last forever by highlighting the mundane things that make up our daily lives.