Visual Art, Theater, and Performance
My background in dance and theater constantly informs my art practice. My recent work primarily deals with space and the fear and stigma around taking up space as a woman, identity and self-narrative, with an emphasis on materiality and use. I prefer to zoom into tiny intimate moments rather than tell elaborate stories. With ceramics this often looks like an elevation of the mundane and an enhancement of small daily rituals, and in my theater and performance work this has manifested as an effort to slow down real time and bring awareness to the subtlest movements we make unconsciously. I'm drawn to what we say without speaking and intense--and perhaps radical levels of--nostalgia.
Ceramics is one of the more ancient forms of craft. When I sit at the wheel I feel connected to the past, but I have to be as present as possible to keep my hands steady and remind myself to breathe in order to bring an object into life for the future. Conceiving of an object, crafting it with my hands, and then participating in every step of the process until I have a finished work is a remarkably gratifying experience, paralleled only by the feeling of giving it away.
Paperclip Pottery was named by my mom, Susan. She chose it because of my obsession with paperclips as the epitome of efficiency in functional design. I frequently find new ways to be more efficient in my work, both with materials and my own energy. My goal with Paperclip Pottery is to uplift daily ritual in the home, and elevate domesticity to an art form.
$1 from every item I sell wholesale and $2 from every retail sale goes to HOPICS, a homeless outreach organization in Los Angeles.
The craftivism movement is near and dear to my heart and demands critical discourse and action through craft.
I strive to waste as little material as possible, including packing material. I use biodegradable packing peanuts and I reuse all the packing material I receive in the mail, including boxes and bubble wrap.