I have a deep respect for life and its uniqueness, a reverence for the unfathomable diversity of organisms that have woven themselves into patterns across the planet. Humans are part of this tapestry of life, yet we constantly set ourselves apart and make decisions that have devastating effects on the earth. With a background in Zoology and a passion for conservation, I have studied the human influence on creatures and the land, and I am continually amazed at the resilience and fecundity of nature. In my work, I wish to celebrate nature’s incredible capacity; I aspire for my pieces to serve as a reminder of the importance of interconnectedness. I make sculptures and vessels out of paper clay, plant material, slip casted and press molded forms. I take weekly forays into a chipping yard to hunt for different species of plants with which to build my work; each day and each passing season brings different material and inspires new methods of building. I search for biomass that will provide texture and visual interest once dipped in a skin of clay and slipped together in a dense amalgamation. Branch by branch I build complex webs of interactivity or connection points, akin to a natural system. I then fire my work, burning out the plant material and leaving it in a fragile, artifact-like state. During this part of the process, connections fracture and branches fragment. Similar to natural systems, my pieces go through dynamic and unpredictable changes in structure. I create cracked surfaces that float over the biota. Utilizing bold color accents on these surfaces contrasts the softer colors of the plant material. This references the clash between human impact and the earth’s preciousness.  Each piece is then submerged in glaze and fired in a cradle of sand. When they emerge from the kiln, the viscous glaze coating and solidifying the branches unifies the connection points. They are transformed into state of permanent interconnectedness.