This series grew out of a long-held fascination with winter branches—their tangle of lines, the way snow gathers and clings to them, softening some edges while heightening others. The landscape becomes a study in abundance: thousands of crossing marks revealed where leaves once hid them, each limb drawing its own path through space. I wanted to capture that density.
This series has works that are carved, sculpted, and drawn, blurring the boundaries between what is drawn, what is carved, and what is built.
A series of bonsai/succulent pots and vases in Black Mountain and Panomora clay (slab mixed), fired to Cone 10, with slip, underglaze, and select glazes wiped clean.
This series grew out of a long-held fascination with winter branches—their tangle of lines, the way snow gathers and clings to them, softening some edges while heightening others. The landscape becomes a study in abundance: thousands of crossing marks revealed where leaves once hid them, each limb drawing its own path through space. I wanted to capture that density.
This series has works that are carved, sculpted, and drawn, blurring the boundaries between what is drawn, what is carved, and what is built.
A series of bonsai/succulent pots and vases in Black Mountain and Panomora clay (slab mixed), fired to Cone 10, with slip, underglaze, and select glazes wiped clean.
