I’m drawn to illustrated ceramics for their ability to hold complexity, but unlike historical decoration, my goal isn’t to resolve or glorify.  This isn't new to clay; my work aligns with a growing movement in contemporary art that positions the medium as an urgent site for political engagement—often shared under the banner of #potteryispolitical. My style is distinguished by its reference to specific iconography of modern Canadian settler lifestyle, a Gen X upbringing in consumerism and privilege is also explored. I align my practice with colleagues internationally researching material history, into the social and political lives of objects, and ceramics as a material for personal expression.  I research the use of beauty, kitsch and nostalgia to mitigate confrontational responses to challenging subject matter; situating the presentation of topics visually reminiscent of children’s picture books thus integrating research to historic methodologies of morality teachings in society.

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I’m building interest in ceramics by showing how it can be more than craft or decoration. It can be an activist tool, a political record, a personal reckoning. This isn’t about spectacle or shock. It’s about quiet persistence. My practice is not didactic. Instead, it offers objects as placeholders of questions. These works slow down the viewer’s encounter with media and with meaning. In a time of algorithmic acceleration, I use ceramics to create pause. The handmade becomes a medium for unlearning. It resists the instant gratification of typical outreach models and proposes an alternate form of care: long-term, intergenerational. My professional practice has always aimed to be inclusive of new technology to embed modern conversations and advancements into the object.