2025

I intervene during the 3D printing process, inserting pieces of glaze and clay into the layers as they are extruded. Colorful drips and protrusions transform the surface. These playful disruptions soften the structure, creating a dialogue between control and unpredictability that reflects the fluidity of process and material.

This covered vessel is designed to take color from a wood kiln. I throw and carve thinking about fire, how the ash will land, and places where it will not. The lid can be turned till it lines up with the firing marks. I like this way of firing.

The diagnosis of a serious medical disease, turned one’s world upside down, lives forever changed. The forms, colors, lines suggest the ups and downs, twists and turns, living each day one at a time. This sculpture can be viewed in more ways than one, having no defined top or bottom.

This series of accumulation sculptures incorporates slip cast and actual found objects to represent how I interpret the world. The objects I use represent where I was in the moment of finding them, memories from where I was at the time, and the emotions I was feeling.

This work is from a creation story series about animals. The series is an ekphrastic reference to Bob Dylan's song "Man Gave Names to All the Animals". This piece is the chicken in the series. The title is an excerpt from Dylan's "Tombstone Blues".

The individual forms were first extruded as hollow tubes. They were subsequently altered to create a pointed bottom, bulged out in the middle, and flared at the top. Then they were all joined together.

Wheel thrown porcelain platter, with carved black slip under clear glaze honoring my favorite neighborhood birds.

Extruded clay hand-built and oxidation fired c6

I grew up in the woods of Vermont and now I live in an urban world outside of Boston. I feel this dichotomy in myself and my work—a constant balancing between my affinity for the modern, urban and clean design, and the pull of my roots in the natural world.

“Passage” reflects my journey, blending echoes of ancient relics from my Korean childhood with the transient nature of life in unfamiliar lands. Each handbuilt piece is a poetic dialogue, balancing past and present, permanence and impermanence, and the fluid harmony between East and West, the old and the new.