A unifying thread in my work is the exploration of pattern as ordered chaos on my surfaces, constructing layer upon layer of colorful spinning circles, flipping flowers, meandering vines, industrial grids, and geometric planes. Red clay as the skin of the pot provides a richness and depth to the layers of surface that I build up with resists, underglaze, and multiple firings. The layering of touch, memory, and color in my process build upon a deep connection to the fluidity of my identity, while at the same time a conduit for connecting to my Cherokee and African American ancestry. Sharing this love for clay both as an artist and educator allows me to nurture a love of the arts, history, and of the handmade in myself and others.
My research focuses heavily on Silk Road traditions where Middle Eastern and Mediterranean cultures where influenced by Chinese porcelain that was being traded throughout the region from 900 AD onward. These pots have a playful energy that comes from copying objects that represent wealth and status. As a kid, I saw old fabric go through a similar process as it was repurposed into vibrant quilts that were both practical and highly decorative.