Work

A selection of functional and sculptural ceramics exploring the relationship between form, material, and process. From everyday vessels to experimental sculptural works, each piece reflects my interest in historical pottery traditions, natural forms, and the transformative effects of wood firing.

Wood Fired Mug

Functional Ceramics

Cups, mugs, bowls, and serving vessels intended for everyday use. Rooted in historical pottery traditions, these pieces balance utility with the distinctive surfaces and variations produced through wood firing.

Wood fired sculptural vessel

Sculptural Vessels

Vases and experimental vessels that blur the boundaries between functional pottery and sculpture. Influenced by geological processes, erosion, and organic growth, these pieces explore the transformation of familiar forms through experimentation with shape, surface, and material.

Tea Ware

Teapots, teabowls, and other vessels made for the preparation and enjoyment of tea. Drawing from longstanding ceramic traditions, these pieces explore the relationship between form, touch, and use, with wood-fired surfaces that invite close attention.

Wood fired demon mask

Sculpture

Masks, wall pieces, and sculptural forms inspired by biology, evolution, and popular culture. Often suggesting organisms that resist easy classification, these works explore transformation, adaptation, and the boundaries between the familiar and the strange.

A few more pieces I’ll have out this weekend at Sac Open Studios. A lot of these surfaces come only from the firing. Ash, flame, flashing. Come by, pick thing up, turn them around, look closely. Saturday + Sunday, 10 am to 5 pm 3728 McKinley B
Sacramento Open Studios is this weekend. I’ve been a little quiet on here here lately, but busy in the studio. I’ll have a lot of recent work out this Saturday and Sunday including vessels, cups, bowls, teapots, vases, masks; platters. M
This teabowl has a really satisfying shape and weight, and it feels great to hold and drink from. I especially love the soft green that came through in the clay. It is not the most common result from my porcelain, but it is probably my favorite. I h
One from the recent anagama firing @cobbartandecology My red clay got this quiet metallic surface in this firing. It’s not a loud, juicy ash drip kind of pot, but it keeps rewarding a closer look. I like making these big handles, and I play
This pouch vase has my porcelain inlaid into my red clay, and it was wood fired at Solano Community College. That dark stripe on the side? Total accident. It’s where this piece got stuck to another one in the kiln. Could have been bad. Instead
These tripod trays are tricky things. Lots of ways for them to fail. Drying cracks, warping, getting stuck to whatever gets loaded inside them. I’ve had every single one fail in some firings. This one made it through the recent anagama firing
Sometimes the best seat in the kiln is directly under the firebox. This teabowl started out as a cone 10 gas-fired piece, then went back into the Rocinante, our Bourry Box kiln at Solano Community College. The firebox grate is made from bricks, so o
Great demon mask from the most recent anagama firing @cobbartandecology Built from textured slabs and packed with character. This guy was put through the literal fires of hell (but in a good, creative way!) in the kiln and came out looking like a c
Two views of this pourer, recently fired in the train kiln @cobbartandecology I like forms that sit somewhere between a pot and a living thing. This one feels a bit like a seed pod, a shell, or some strange little creature. Every time I look at it,
I’ve been making plates lately. A deceptively difficult form that I’ve resisted for a long time. This one reminds me why they’re worth the effort. Soft ash deposits, scattered cobalt flashes, and three red clay wadding marks that b