Extracting elements from historical ceramics to contemporary design objects I overlap and reconfigure. I am drawn to subtle and detailed components in objects that are familiar. I am investigating the attraction to these elements and their social role. The ceramic forms I create are informed by our relationship with the functional objects that we continually interact with, and the underlining content of the design of these objects. Deep-rooted ideological structures are translated into the world of "things". I look at familiar domestic objects, a vase, an iron, or an element of architecture for insight when building. In the finished product only parts of these references remain clear. The forms recall memories of many objects and eras.
My focus until this point has been on functional vessels, and I still have a strong interest in this realm. My current forms refer to function without divulging a recognizable specific use. They seem familiar, as if their use is prescribed; yet upon closer inspection you can not determine its purpose. Is the form a functional vessel, a component of a larger object, or a purely decorative form? It invites a closer look.
Surface and pattern are essential to my work. Detailed floral imagery is expected on delicate chinaware, but what happens when the same pattern envelops a swelling boxy form? I use familiar patterning, reminiscent of wallpaper and fabric, in order to make this odd object seem comfortably approachable. Many decorative arts are overtly useful, yet have delicate decoration that can barely withstand the rigors of daily use. With these objects and their accompanying bathroom installation I am exploring the relationship in ceramic arts between luxuriously ornamental wares and objects with specific, essential, and necessary functions. I am investigating the space between function and ornament, and the shift that happens when decorative becomes function.