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My ceramic practice began during a period of deep personal loss. Working with clay provided a way for me to stay present in my body when language and structure were no longer effective. What began as therapy evolved into a long-term exploration of form, memory, and material.

I primarily use my own formulated stonewares and porcelain, combining soda firing, sgraffito, mishima, and layered glaze chemistry. I’m drawn to processes that leave room for surprise or disruption. I welcome accidents, variation, and tension as reflections of lived experience, especially for those of us whose identities and bodies resist easy categories.

My work often focuses on queer and trans embodiment, fatness, grief, and humor. I carve text and figurative imagery into magnets, tiles, and functional forms, blending utility with a kind of soft defiance. These objects live in kitchens, studios, fridges, altars, and pockets. They ask to be touched, held, and read.

Much of what I make is rooted in response. I was raised in a rigid, fundamentalist household, where bodies were policed and language was moralized. My work challenges those frameworks and instead creates space for truth, curiosity, irreverence, and care. The outcome is often chaotic and joyful—sometimes silent, sometimes loud, always personal.

In addition to ceramics, I’m a bakery owner, trained operatic tenor, and master gardener. These threads inform my practice in both practical and poetic ways. I think a lot about seasonality, ritual, the body, and how we share space with one another. I bring a multi-sensory, community-minded approach to my studio work, often teaching in local spaces and collaborating with others. My pieces have shown in galleries, craft markets, and queer art spaces, and are collected by people who like their art to say something—and maybe swear a little.