Tell us about your practice and how you came to making?

I started making ceramic objects nearly two decades ago and really never strayed - it's a bit addictive! My current studio practice merges my love of clay with a fascination for lighted objects. I enjoy creating pieces that embrace the duality of a sculptural form and the utility of a lamp.

Do you have a ritual when it comes to making/designing work?

As a material driven maker, my design rituals are centered heavily on process. How I interact with clay really informs the shapes I design and build. I’m always open to different modes of making in clay. From slabs to coils to throwing on the potter’s wheel the wet clay process is at the forefront of my overall lamp designs. From there, I layer in ceramic finishes, brass, linens and wood to balance each piece.

Lighting has become a central focus in your practice—from wired fixtures to pieces that support light in a more traditional way, like your candle sconces. What initially drew you to designing objects that center around light, and how has your relationship with light evolved since you’ve started making?

The relationship between object and environment has always interested me. The things we collect. The objects we use each day. Items in our homes that bring us joy. Lighting is one of those elements for me. It’s capable of seamlessly setting a mood, rounding out a room, and quietly defining a space. 

The main thing that has evolved and changed since starting the lighting  studio is that I own too many table lamps and candle holders!

Your pieces are incredibly detailed and precise. How do you achieve that level of control when building these intricate forms by hand?

I often joke that clay is my boss, and it’s kind of true. It’s not an entirely forgiving material but that’s what I like about it. 

Working in clay is a deeply haptic process, so I rely on the tactile cues the material offers as I build. My hands are essential in pushing and pulling the form, but the most critical element in the equation is water. The moisture content of the clay determines when and how I can act - guiding each stage of the process.

Once I understood this, the work revealed its rhythm: a cycle of doing and waiting, doing and waiting. This timing system in combination with paper and wood templates help me build consistent, intricate forms by hand.

Photography: Whitney Morales

Your work often leans toward a natural palette, both in color and surface texture. What attracts you to these earth-toned finishes, and how do they shape the overall mood of a piece?

I take color cues from the natural world and materials offered by the earth. I’m drawn to the tones of beach grass, sand dunes, lakes, and forests surrounding me here in Wisconsin.

I often highlight the inherent beauty of red earthenware, the contrast of carbon and fire, and the grounding tones of brass and wood. 

The overall mood fluctuates between my collections. My Chip Carved pieces are rich in physical texture, shadow and offer vibrant color saturation. On the other end of the spectrum are the deeply moody, variant surfaces of my smoke-fired pieces. This stone-like, galactic surface blankets the lamp base forms in a very luxurious way.

Not only do you design and build the bases, but you also produce the lampshades yourself. What led you to take on that part of the process instead of sourcing shades separately?

I approach the lamp making process as I would approach making a sculpture. Each component is deeply considered and essential to its presence as a whole. The lamp shade holds and emits the most essential component of a lamp - illumination. So, when I began making table lamps it felt natural to also design and make each shade.

One of the words I use to market my work is ‘handcrafted’. This word holds a lot of weight for me and if I’m capable - I will teach myself how to do it!

Is there anything you’ve dreamed of making, but haven’t yet?

It’s been about five years since I began making table lamps and I feel like I am just beginning. I’ve dabbled in floor lamps and sconces but I would like to push them past the experimentation stage. But, that takes time and it's a slow process.

What’s next for you?

I’ve been making a new collection of smoke fired pieces that are slated for release this year! This collection will be filled with new, bigger  lamp base shapes. Also, I’m honing in on some beautiful detailed components for a special touch.