I am intrigued by pushing the limits to see how far I can carve the clay on the outside and inside before potentially pushing or breaking through. With my porcelain work, I am motivated by the challenge to achieve a certain thinness and translucency at every stage from greenware, bisque, glazed and fired without distorting the form or image.

The passage of light through my work is one aspect I am working to highlight right now - the piece changes depending on what light source is around, giving the viewer a chance to interact with the piece outside of a normal setting. My functional work usually doesn't have a handle in order to allow for a more intimate interaction with the piece, one where you must find the place that the piece fits within your hands, rather than relying on what is previously identified by the maker.I enjoy every step of the creative process, and pour myself into the hours it takes to complete a piece.

I am a husband, father, artist, potter, etc... from Bountiful, Utah. I love to draw, throw and carve, and for as far back as I can remember, I have enjoyed creating what is floating around in my head. I was recently at an art festival when a friend looked at my booth and said “Man, your brain is busy,” and she was right. My work is wheel-thrown, hand carved, altered and distorted vessels.

My images are based on animals, birds, and succulent flowers, inspired by the Fibonacci sequence. I want to connect with experiences I've encountered involving my loved ones and nature; the more I work through an image the more connected I am with it. I use white stoneware clay without grog or porcelain. All of my work is relief carved with no clay added to the surface. I work in a subtractive manner because I am looking for the illusion that clay has been added to get the detail and depth within my work.