What exactly do we leave behind? When fired, clay will survive a million or two years if undisturbed in the archeological record. With this fact in mind, I wanted to explore the themes of morality, ephemerality, and legacy in my project.
I created ceramic heads and feet, then joined them with sections of wood. After a million years (or even a hundred for that matter), all that will be left of them are the heads and the feet: all that will be remembered are the things that we do with
Twicks , 2013, ceramics and sections of cedar tree, dimensions variable
Twicks , 2013, ceramics and sections of cedar tree, dimensions variable
Twicks , 2013, ceramics and sections of cedar tree, dimensions variable
A collaboration with classmate Sam Stowe, this project was meant to flip the tables, so to speak, on the way we look at food consumption and the associated tools.
Humans buy meat and fruit from the grocery store, microwave it when they get home, and eat it with forks and knives. Things don't quite happen that way in nature.
In a lighthearted exploration of materials, we questioned what it means to sit down and eat food that you are so separated from.
What's For Dinner? , 2013, ceramics, napkins, and hand-thrown plates, dimensions variable
What's For Dinner? , 2013, ceramics, napkins, and hand-thrown plates, dimensions variable
What's For Dinner? , 2013, ceramics, napkins, and hand-thrown plates, dimensions variable
What's For Dinner? , 2013, ceramics, napkins, and hand-thrown plates, dimensions variable
Without much of a plan, this was one of the first things I made in my advanced ceramics class.
Using all clay, I made a copy of my hand, my tattoo machine, a pencil, and a sheet of paper. To display them, I set them on a textured base.
Tools of The Trade , 2013, ceramics, 12 in. X 12 in. X 5 in.
Tools of The Trade , 2013, ceramics, 12 in. X 12 in. X 5 in.
Tools of The Trade , 2013, ceramics, 12 in. X 12 in. X 5 in.
Tools of The Trade , 2013, ceramics, 12 in. X 12 in. X 5 in.
Tools of The Trade , 2013, ceramics, 12 in. X 12 in. X 5 in.
For the annual DIRT ceramics show at UC Berkeley's Worth Ryder Art Gallery, our class decided to curate an exhibit that was interconnected from student to student, around in a full circle. So while I used my own mold to create my own three objects,
My piece focused on the Russian annexation of the Crimea in Ukraine, with the red, white, and blue spray cans representing the Russian flag and its country's hasty actions. Rodina Mat (Mother Homeland) , 2014, ceramics and glaze, 18 in. X 18 in.
Stacie Vu, working with pacifiers as a representation for whistle-blowing, collaborated with me for the piece. Through the firing process, the round part of the pacifier proved to be made of a type of glaze rather than clay, but the results were wel
Crying Kiev , 2014, ceramics and glaze, black ink, and mud, 6 in. X 8 in. X 10 in.  
Adriana Lemus, working with faces and the idea of yet to be created memories, was to my other side. The somber expression reminded me of images from the protests in Kiev.
Forgotten Promises , 2014, ceramics, 24 in. X 8 in. X 10 in.
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