Forming pots, preparing wood, and making glazes with ash from trees on my property are all part of the process of wood firing my pottery. I want my pots to reflect my connection with the land.

Making pots and firing them in the wood kiln transforms them in a way that connects all aspects of my practice, which is ultimately an exercise in presence. Each part of the process demands all of my attention; I can be doing nothing else when I’m centering clay, or loading the kiln, or stoking the fire during a 20 hour firing. Tending the kiln and working with the elements to bring about the results that only wood firing can yield, I make myself a partner with mystery. Experiencing the surface and body landscape of the pots made in this practice inspires more questions than answers.