Named for the geological term for a solitary stone displaced from its landscape, Erratic carries the weight and irregularity of weathered rock, while the smoked glass globe introduces a contrasting sense of balance, appearing to rest rather than sit.
Illuminated, the work shifts between sculpture and light, allowing the two materials to define one another.
Cairn takes its name from stacked stones—objects that are both deliberate and precarious, markers of presence within a landscape.
The glaze was allowed to move freely during the firing, revealing its own topography across the surface. Rather than decorating the form, it became part of it. The smoked glass globe completes the composition, introducing light as the final material.
Mooring considers a vessel that feels complete before a single stem is placed. Borrowing the form of a resting waterbird, the piece considers flowers not as decoration, but as an extension of the sculpture itself.
Designed for ikebana, the arrangement becomes the final element of the composition, changing with the seasons while the vessel remains unchanged.
Caldera explores a landscape shaped by absence rather than accumulation. The rising rim defines the form, while the central vessel anchors the arrangement within it.
Designed for ikebana, each composition inhabits the terrain differently, altering the work through placement rather than addition.
Littoral places a chessboard at the boundary where land meets water—a place that is constantly defined and redefined. The pieces borrow from eroded stone and coastal forms, while the board imposes a geometry neither landscape would naturally choose.
Through play, the composition is continually rewritten, each move shifting the balance between order and erosion.