In this series I am focused on questioning the archetype of the ceramic pot as container. The work challenges the existence of a difference between inside and outside as the two become intertwined and ones sense of access is heightened. The pieces imply the capability of containing physical objects (fruit, bread), but are only able to contain the intangible substances of light and shadow.

By leaving evidence of the process of making and using the concept of function as a starting point I allow the viewer an insight for initial interpretation. Although the formal architecture of the pot remains intact, the work is uninhibited by the pragmatic issues of function. Dropping the necessity of a pot to contain allows the creative exploration of the artistic potential of the vessel format.

The juxtaposition of glazed and unglazed surfaces combined with industrial textures not typically associated with porcelain produce a tension in the work, and the sometimes violent and rough treatment is at odds with porcelain’s implicit societal qualities (upper-class association and assumption of purity and preciousness). Exploitation of the explicit qualities of porcelain (fragility and translucence) and a minimal use of color, combined with a cylinder or oval form, emphasizes the dysfunctional parts that come together to create a single expression. The intimate scale of the work draws the viewer near, creating a more intense and personal dialogue. This close proximity is necessary in beginning to unravel the meaning of the piece.

Acting to contain the tangible when in use and the intangible (light, shadow) when on display, these pots are ever functioning in their intended environment: the home.

Following in the lineage of "fine china" I produce objects for domestic service, adding my own sense of affect and defect. Piercings, tears, cut-outs and perforations toy with the archetype of the clay pot as container and call to question one's idea of function. The work is heavily indebted to the implicit qualities of the material used in its creation - Porcelain. Indeed, when you think of porcelain, you first consider its physical qualities (strength, fragility, translucence), then porcelain's class association and cultural significance.

The work's primary use is that of a functional object, and all the pieces perform as they should. However, the degree of functionality is in question. For example, the cups are translucent, allowing light to break down a difference of interior and exterior space, and also forcing one to consider how the cup is used, or risk destroying the cup. And it is this contemplative state that allows the simple cup to be elevated to ritual object- an important part of the common daily act of drinking.