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[1-10] derived from elements of water, these stacking bowls find form from the marriage of the tea-cup and saucer. the form emulates compression to emphasize the horizontal nature of calm liquid. their earthen outside of matte glazes contain their watery insides, depicted by their reflective glazing.

[11-16] the vessel serves a dual purpose of bowl and vase. its apertures give flowers a vertical and diagonal reach into surroundings; the folded curving slabs of the center hold items within

[17-21] a small , elevated bowl acts as a server for dips. its rounded divider envelopes dips, while the outer rim bowl holds other items

[22-23] a small, ovular bowl finds duality in its three-dimensional form and its two-dimensional glazing. its ovular form is sectioned by a flat slab; the shining black glaze is the opposing form to its naked clay finish above

[24] a shelter houses spherical forms. it is constructed through hand-building techniques and the mixing of malleable materials with soft terra-cotta

[25] the tall vase is constructed through the coil-pot method. the upper part is distinguished by a rustic, weathered formulation of glazing and etchings in the terra-cotta; the lower part is marked by etchings of flora and fauna on a soft matt blush glaze

vessel | carve | mold

convex and concave forms are made with techniques of hand-building and use of the wheel. these forms meet linear elements excavated and etched into layering slabs of terra-cotta and sand clays.

carving | shaping depth | elevating line

carving pushes beyond the tangent union of hand-to-material boundaries through a process of pressing and pulling of the surface. pressing and pulling lift lines and create spaces for light and shadow. this process is achieved through hard material, such as set plaster

carving line and depth | a catalogued process of carving

phase [1] first marks
carving is the physical manner of drawing line.
marks are first made with a hammer and chisel before smaller curved carving tools dig out details.

phase [2] tools
the tool’s shapes suggest their utility. curves leave traces
and imprints, but stretch their depth and dimensions as they move through material in the vertical and horizontal axes.

phase [3] making crevices
crevices create strong joints between light lines and
shadow lines. lines and parts of shadow are deeper in some areas and are found intensified in their depths of color; darkness’ counterpart, light, becomes a lengthened and elongated expressions as it must extend also into the depths and crevices to make darkness.

phase [4] punctures
light exists as both vertical and horizontal entities and con-
nectives places within the grid of surrounding phenomena.