In my making processes I shift between moments of certainty and uncertainty, between the workmanship of risk and the workmanship of the absolute. Clay pressed into a mould will always form to the shape of the receiving pattern, however the interior of the pressed clay will always be unique. A double-sided press-mould hides this space from immediate view, leaving the viewer a bit puzzled about its nature – this is different – why? – what is this? – I know this form – sort of.
Visiting and studying various industrial manufactories, specifically Heath Ceramics, Cutco, and EddyLumber over the past year has been crucial to the development of this body of work. Seeing the amount of handwork, judgment, and skill that goes into objects – products – that aren’t typically labeled or celebrated as ‘handmade’ struck me as an interesting paradox. I play on this paradox by juxtaposing objects that read as industrially produced with objects that have more of a precedent in the history of pottery.
Through the display and exhibition of work I explore the idea of contingency. The shelves and tables read less like a piece of heirloom quality furniture and more like something you would see at a work site - furniture that is contingent on what sits upon it, furniture that plays a supporting role. I place the vase on top of the ridged plinths as a domestic sketch – one possible utilitarian moment amongst an infinite number of possibilities.