How can I purchase your work?

I show and sell my work through tear sheets, private online viewing rooms, and in-person and virtual studio visits. If you email me, I will get right back with details on currently available work.

How much do your pieces cost?

My work ranges from $300 for a very small piece (less than 3”) on up to $5,000 for larger and/or intricate work (12”+) with a lot of price points in between. An intricate work of 10-12”H generally falls in the ~$2,000 range.

How do you take payment?

Invoices are payable online via credit card. (I also take wire transfers, checks — and cash.)

Do you ship internationally?

Yes, I ship worldwide. But international shipping can be pricey. I am happy to quote you freight costs prior to purchase.

Do you take commissions?

Yes. I typically require a two- to three-month lead time on commissions — and sometimes longer, depending on complexity and other commitments.

How do l arrange a studio visit?

Just drop me an email, so we can arrange a mutually convenient time. I love meeting and getting to know potential clients — both virtually and in-person.

Can I view your work in galleries?

Apart from my gallery rep, Boon Room, in Paris, I only sell direct from my studio. Occasionally, I participate in one-off gallery shows. But because I dedicate so much of my time to experimentation, I don’t have enough work to supply multiple outlets. And candidly, I am a control freak when it comes to how my work is shown, so I prefer to keep it under my own roof!

Where is your studio located?

My studio is located in Old City Philadelphia, the city’s most historic neighborhood, on the ground floor of a restored and landmarked 1870’s glass factory (now condos). It is a short Uber from 30th Street Station, which in turn is about an hour and half train ride from New York City. I am around the corner from numerous museums, shops, galleries and other sightseeing. And I am always happy to give tips on what to do and see in Philadelphia!

Are your pieces functional?

I classify my work as sculptural vessels and forms. While some pieces can be used as a bowl or a vase, most pieces are not water tight. Every now and then, though, I make some functional work — just because. 

How big are your pieces? 

Most of my work tends to fall in the 8”-12”H range. I am often asked if I can scale up work. Unfortunately, at the moment, my kiln dimensions prevent me from making work taller than 17” and wider than 25”. Pieces larger than those dimensions can only be achieved by working modularly. 

Do you sell “seconds”? 

Yes. I occasionally have work available at a deep discount (25-50%), depending on the flaw(s). For inquiries on “seconds”, please email me.

Do you teach workshops?

Sorry but I am not currently teaching workshops.

Who does your photography? 

All the photos on my website and instagram account are taken by me. Photography is an integral part of my practice — both for inspiration and for documentation. 

Do you make porcelain lighting?

No. But it is a direction I would love to explore, and I am open to collaborations. 

How can I see work in progress?

The best way to see my work unfold in “real time” is by following me on instagram. I regularly post new work, experiments, failures, progress and process shots, and anything that catches my eye or inspires me. 

Is your work 3-d printed?

No. All my work is created using variations on traditional handbuilding techniques, such as coil, slab and pinching.

How long does it take you to make a piece?

I use many different techniques in my work. Some are very time intensive and meticulous, involving handbuilding through accrual, meaning creating a work by adding to it bit by bit. These types of pieces are created over several days. Other work is more fluid and serendipitous. These pieces unfold in a few hours during one sitting. But it may take several tries before I find what feels “right”, (meaning a lot of also-rans wind up in my recycle bucket.)

What type of clay do you use and can you explain how you create your textures?

I use Laguna Frost Cone 6 porcelain, which fires to 2232 degrees Fahrenheit. As for my textures and handbuilding techniques, I like to keep a little mystery in the making — at least for now!

Your pieces are so varied. Why don’t you stick with a single process or technique?

The thrill of discovery is what keeps me creating day in and day out. I love experimenting, and so, I devote about 50 percent of my practice to just seeing what is possible. Also, varying my techniques causes less wear and tear on my body, since handbuilding entails repetitive motions. Finally, practicality dictates what I make, as well. For example, if I know I have a week full of interruptions, then I might choose methods that allow me to complete work in shorter bursts. But no matter the process, I am consistently drawn to the same themes — namely, texture, translucency and movement — resulting in a signature style I like to call “intricate minimalism.”