Red clay as the skin of the pot provides a richness and depth to the layers of surface that I build up with resists, slips, underglaze, Egyptian paste, and multiple firings. The layering of touch, memory, and color in my process build upon sharing this love for clay both as an artist and educator allows me to nurture a love of the arts, cultural legacies, and of the handmade in myself and others.
Growing up an only child of a single parent in NYC was stressful and complicated, and I would find comfort in making sense out of chaos. My trip to India as a kid I can never forget: the sight of streets filled with brightly colored draped and wrapped clothing still inspires me today.
Combinations of color in my process builds upon a deep connection to memories of fabric and gardens, expressions of fearless, fluid and undulating expressions of identity, while at the same time allowing for a conduit for connecting to my Cherokee and African ancestry.
I have recently begun building a new body of work I refer as Mino-Ghigua. (The Dahomey Mino were an all-female warrior battalion in West Africa and Ghigua was a term to describe female warriors and political tribal leaders.) Inspired by expressions of Afrofuturism from artists like Wengechi Mutu, I am challenging myself and the viewer of ceramic work to connecting to ancestral legacies while still allowing for progress.