I'm interested in making things that are meant to be used every day. A mug for morning coffee, plates for a shared meal. These are small, simple moments, but the objects at the heart of them can take on a lot of meaning over time.
I try to match that simplicity by keeping my forms straightforward and only leaving behind subtle traces of the handmaking process. I draw inspiration from minimal and geometric shapes of mid-20th century modern design, as well as purely functional commercial products of that era: mass-produced enamelware and restaurantware that were designed to withstand repeated use. I find it deeply satisfying to trace how each design choice came from a specific problem that needed solving. I then push certain features, like big, rounded rims and handles to offer a friendlier look. There’s a quiet playfulness in the way the exaggerated proportions look and feel in your hand. I like to think of them as objects designed for children, scaled-up for adult use.
I'm interested in making things that are meant to be used every day. A mug for morning coffee, plates for a shared meal. These are small, simple moments, but the objects at the heart of them can take on a lot of meaning over time.
I try to match that simplicity by keeping my forms straightforward and only leaving behind subtle traces of the handmaking process. I draw inspiration from minimal and geometric shapes of mid-20th century modern design, as well as purely functional commercial products of that era: mass-produced enamelware and restaurantware that were designed to withstand repeated use. I find it deeply satisfying to trace how each design choice came from a specific problem that needed solving. I then push certain features, like big, rounded rims and handles to offer a friendlier look. There’s a quiet playfulness in the way the exaggerated proportions look and feel in your hand. I like to think of them as objects designed for children, scaled-up for adult use.
I'm interested in making things that are meant to be used every day. A mug for morning coffee, plates for a shared meal. These are small, simple moments, but the objects at the heart of them can take on a lot of meaning over time. That's what drives my work. I try to match that simplicity by keeping my forms straightforward and only leaving behind subtle traces of the handmaking process.
I draw inspiration from minimal and geometric shapes of mid-20th century modern design, as well as purely functional commercial products of that era: mass-produced enamelware and restaurantware that were designed to withstand repeated use. I find it deeply satisfying to trace how each design choice came from a specific problem that needed solving. I then push certain features, like big, rounded rims and handles to offer a friendlier look. There’s a quiet playfulness in the way the exaggerated proportions look and feel in your hand. I like to think of them as objects designed for children, scaled-up for adult use.
Arne Jacobsen's teaset from 1967. Everything's a cylinder. If it ain't broke why fix it?
Rolled enamelware rims are indicative of the process but also give them a distinct look.
SHENANGO CHINA Restaurantware, designed for heavy, repeated use.
Restaurantware, designed for heavy, repeated use.