White earthenware, MNO glaze, acrylic paint, non-toxic glue, flocking fibers, wool flocking powder  

This body of work is informed by the Bay of Fundy coastline. I am particularly interested in the geological breakdown of the landscape as it is shaped by water, wind, and time.

The surfaces of these works reflect that ongoing transformation. Cracks, crevasses, voids, and tidal cavities known as kolks reference the physical stresses imposed on rock. Through erosion, material is fractured and re-formed, producing new contours and textures. Colour and surface treatment evoke the shifting interplay of elements, presenting abstracted landscapes that resist fixed perspective and instead suggest fluid, asymmetrical space.

Each form is hand-built, allowing irregularities and controlled tension to shape its structure. After firing, layered glazes create depth and variation across the surface. Industrial adhesives, acrylic pigment, and electrostatically applied monofilament are then introduced, producing a soft tactile contrast to the hardness of fired clay. All materials are tested to ensure structural integrity and long-term durability for public display. The works can be displayed free standing or hung on a wall.

Erosion operates in this work as both physical condition and conceptual framework. As the coastline is marked by pressure and time, so too are human bodies shaped by experience and adaptation. Areas of worn clay and disrupted surface reveal underlying structure, suggesting parallels between geological change and the lived condition.

Collectively, the works present a materially grounded abstraction that reflects endurance, transformation, and the shaping force of time. Through disciplined process and layered surfaces, they examine the interconnected relationship between environment and human experience.