When did you start making ceramics, and why?
I started my career in fashion, designing women’s wear. Between jobs about six years ago, I signed up for a ceramics class—one of those things you always dream about doing when you have time off, but but make excuses not to. It was just for fun, with no intention of it leading to a career shift. But once I started working with clay, I couldn’t stop. During the pandemic I had a lot more time to create without needing a reason, this is when I created my first ten sculptures that were eventually sold at Oroboro.
What was the job shift like for you?
It was a big adjustment working alone. I still have to remind myself that I don’t need someone else’s approval.
Where do you find inspiration?
Inspiration comes from everyday life—sometimes it’s the way clouds move, other times it’s the shape of a shadow. I also have stacks of my sketch books and rocks from my travels that I revisit when starting a new sculpture. One of the most inspiring trips recently was to Moab, Utah. The rock formations there, with their incredible layers and colors, have directly influenced how I’ve been layering glazes and combining different clay textures.
For the last six weeks, I’ve been doing The Artist’s Way. I wake up at 6:05 (6:00 feels too early). I do the three pages every morning, writing without self-editing. I listen to the audiobook on walks, read the book, and attend a Sunday Zoom group.
What about your use of color?
I alway gravitate towards neutrals. Recently, I’ve begun a new way of glazing - with a brush as if I were painting against a canvas, using strokes and texture. My husband and I always joke, 'We can create something much more interesting with 5 crayons than with the whole box.' With limited options and color palettes, you can really master a craft within those limitations.
What is your daily routine at the studio?
Mornings are my most productive time. I usually start the day with a long walk, followed by my morning pages, coffee, and a quick game of Wordle. After that, I dive into ceramics. Since the process requires time—building, letting things sit, refining—I like to dedicate the full day to it. Lunch is often followed by a midday yoga class, and in the afternoon, I either continue working, visit galleries, or focus on other projects or spend time with my teens.
I always use January as a period of play, and allow myself to make mistakes without consequences. Sometimes my process is very simple, and sometimes it gets more complicated.
What music are you currently listening to?
Right now, I’m reading Nina Simone’s Gum by Warren Ellis, who plays with Nick Cave. I’ve been immersing myself in both his book and his music, alongside Nick Cave, which has been a really inspiring process. His reflections on creativity—and how a simple piece of gum he saved took on a life of its own—have been fascinating.
I’ve also been wanting to visit the Louis Armstrong Museum in Queens, but I’ve told myself I need to fully immerse myself in his music before I go. Listening deeply before experiencing a place connected to an artist feels like a way of preparing. Another thing I love is getting playlist made from friends—music is such a personal thing, and listening to someone else’s selections is like stepping into their world for a bit.
Where is your favorite place to travel?
I have a soft spot for Northern Spain. I went there right before the pandemic, which is when I really started to sketch.
Right now, we’re planning a road trip to New Mexico in April for spring break. We’re excited to visit Santa Fe, White Sands, and Georgia O’Keeffe’s home. I love seeing other artists' studios and how they weave creativity into their daily lives, so that’s going to be a special part of the trip.
Do you have a wardrobe or specific clothes you like to work in?
I wear a lot of As Ever, in olive tones. The overalls are great when I’m throwing on the wheel, and their Tanker pants are my go-to.
