Pottery weaves into our daily lives through use and decorates our living spaces with character and elegance. Cups are especially intimate objects. On the cups and plates in this exhibition are drawings of all the birds of North America. In a great salute to fantasy and Magical Realism, I can’t help but wonder: if I drink from this cup, could I sing like this bird?
I am profoundly interested in the watercolor paintings of “The Birds of North America” by John James Audubon. Late in his life, Audubon realized that he was not going to live long enough to paint all of the birds of North America, so he began to draw with both hands. I relate to his passion for making and am touched by the detailed simplicity of his work.
The title of this exhibition is “Quiescent” (being at rest, quiet). When I am walking home from work or hiking a mountain and hear a bird call, I pause. I always stop, just for a minute. And in that pause is a quiet moment of reflection and stillness.
A formal gallery exhibition is a brief but important time for a piece of pottery. It marks a time of transition that helps the user understand the work when they first see it, bridging the gap between studio and home.
I am insistent about making things with my hands. My need for domestic objects and an instinctual drive to create things have proven to be tremendous dance partners for my ideas and desires.
This exhibition was not have been possible with out the tremendous support and help from Steven Wicklund, Patrick Coughlin, Ayumi Horie, Adam Shiverdecker, Maria Kretschmann, Hope Rovelto, Brandon Carmo, Ann Shaner, Trey Hill, Olivia Reuta, the Clay Studio in Missoula and Hannah Fisher, Jeff Guido, Erin Nagyf, the patient faculty at the University of Montana in Missoula and all the folks at the Clay Studio in Philadelphia.