My work begins with a moment—often captured through a photograph or one of my own drawings. These images spark a process that blends traditional craftsmanship with modern technology, resulting in richly textured ceramic relief paintings.

A pivotal piece in my collection was inspired by a trip to Cordova, Alaska, where I met a man farming oysters on a remote stretch in a hidden bay. His weathered features and makeshift boat embodied the spirit of Alaskan independence, and I felt compelled to tell his story through portraiture.

I begin each piece by digitally assembling reference images to develop a compelling composition. This design is then translated into layers cut by a laser machine, forming a woodcut mold.

Pressing clay into the mold produces a bas-relief, which I refine by hand to capture fine details and textures.

To enhance the surface, I imprint the clay with natural and found objects—rocks, bark, yarn, stamps—building a richly tactile foundation for painting. Once dry, the work is painted with ceramic glazes and fired at 1900°F, permanently setting the colors into the surface.

My process is slow and deliberate, taking weeks or even months to complete a single piece. It is ever-evolving, shaped by curiosity and a desire to push the boundaries of materials and technique. Each work is a labor of love, ready to be displayed and lived with.

My work begins with a moment—often captured through a photograph or one of my own drawings. These images spark a process that blends traditional craftsmanship with modern technology, resulting in richly textured ceramic relief paintings.

A pivotal piece in my collection was inspired by a trip to Cordova, Alaska, where I met a man farming oysters on a remote stretch in a hidden bay. His weathered features and makeshift boat embodied the spirit of Alaskan independence, and I felt compelled to tell his story through portraiture.

I begin each piece by digitally assembling reference images to develop a compelling composition. This design is then translated into layers cut by a laser machine, forming a woodcut mold. Pressing clay into the mold produces a bas-relief, which I refine by hand to capture fine details and textures.

To enhance the surface, I imprint the clay with natural and found objects—rocks, bark, yarn, stamps—building a richly tactile foundation for painting. Once dry, the work is painted with ceramic glazes and fired at 1900°F, permanently setting the colors into the surface.

My process is slow and deliberate, taking weeks or even months to complete a single piece. It is ever-evolving, shaped by curiosity and a desire to push the boundaries of materials and technique. Each work is a labor of love, ready to be displayed and lived with.