Most of my works incorporate enamel and metal mesh. The soft, flexible quality of the metal mesh allows me to realize almost any texture I can imagine, while enamel helps stabilize those textures once they’ve taken shape. I’ve always loved creating new textures, but I also find great joy in discovering new possibilities within existing ones.

Texture in my practice exists as an inevitable facet of my medium. Ceramics is tactile and exists in space in a way that demands surface. I am drawn to subtle, inviting textures, made to draw in viewers and give them room to examine and contemplate. The textures are inspired by naturalistic elements in rural areas, such as animal fur, feathers, textiles, and organic growth and decomposition. My surfaces are often a conglomerate of multiple of these, calling back to my upbringing in rural north Georgia. I continually return to textures that are repetitive in an organic fashion, and ones that contour the existing ceramic forms.

My artistic practice directly addresses ideas of index, catalogue, and collection within various different contexts. Rooted in themes of habit, ritual, and hyperfixation, my work serves as both a regimented and psychological archive - one that seeks to understand …

As each piece of music evolves, so do my notes and records. For a work to be "complete," it will have gone through several drafts and edits, as well as rehearsals and workshops. (This is especially true for pieces involving text and/or dramaturgy, like opera and ballet.) I view my pieces as living snapshots at various moments of my and the performers' lives…