When Iโm in my studio space, I find myself thinking about the legacy of women artists like Marguerite Wildenhain, Toshiko Takaezu, Nampeyo, Mim Wynne, and Firelei Baez.. thinking about womanhood and routine while squeezing, squishing, and oozing clay. Holding themes of duality, cycles, intimacy, and tradition close in my hands. What is birthed is tables full of wares, pots, tapestries, and sculptures.. a room that can provide its own moment of intimacy and reflection for a secondโmaybe through a carefully crafted handle, a relic of warmth on cold mornings, or a eternally twisting candelabra inviting you to turn on its wick. There is satisfaction and grief in hyperfixating on details and steps and trusting the process while still allowing myself to be impulsive and follow whims; sometimes the hands can be smarter than the brain!
All of the clay I use was mixed from dry materials of the earth by myself, 200pound batches at a time kneaded together in a big watery spinning cement vat, every pound wedged between 30-40 times with my hands, from dry to wet and spun at a high speed, every rim and foot intentionally carved on a whim to provide a special item that will surpass our lifetime if shown some love and care.
๐๐ข๐ง๐ฆ๐ต๐บ ๐๐ฆ๐ต / ๐๐ถ๐ณ๐ด๐ต๐ช๐ฏ๐จ ๐๐ต ๐๐ฉ๐ฆ ๐๐ฆ๐ข๐ฎ๐ดย
Porcelain beads, embroidery floss
My personal favorite from this install. This ceramic tapestry + blanket is woven together from over 1500 hand rolled porcelain beads and embroidery floss. I was looking for an element of noise in a piece and also something larger than what can be held in a hand. I rolled beads for over two months, even made sure to take my clay and bins with me on spring break.
Special thanks to Jonathan Hawks, Luke Vu, and Kate Pool.
