Featured Artworks

Akaeza Garden unfired porcelain and weeds, 44 x 72 x 32 inches, 2025 This installation was created in an area of Japan known for its porcelain clay. The piece began with gathering weeds from a garden, which were pressed into porcelain and shaped by plaster molds. The unfired clay pieces were then stacked and left to naturally degrade over time in a backyard garden. The work attempts to create order from disorder, yet its very nature ensures an eventual return to the cycles of decay and renewal.
Beneath the Green installation from solo exhibition at Goldfinch, Chicago, 2024 Created during a residency at the European Ceramic Work Center, this work draws from the natural environment of Oisterwijk, Netherlands to examine time, place, and memory. Plant materials were embedded in clay and fired, leaving fossil-like impressions that were subsequently enhanced with glaze and pigment to clarify their textures and details. Through the medium of ceramic, the work captures and preserves the fleeting qualities of nature, attempting to make the impermanent permanent.
Weeds & Ferns glazed porcelain, 9 x 14 x 8.5 inches, 2025 This porcelain object harnesses the essence of the small rural town Arita, Japan. By repurposing a discarded plaster mold and pressing locally collected plants into porcelain, the work serves as a container for the memories of Arita’s landscape. Its severed form highlights nature’s raw beauty, unpredictability and the limits of human control, in contrast with the refined historic tradition of porcelain pottery and decorative ware.
The Undergrowth installation from solo exhibition at Gallery Heptagon, Kyoto, Japan, 2025 Some Like the Sun, Some Like the Shade (left), porcelain, 10 x 10 x 9 inches, 2025 Bamboo at Night (back), washi and plants, 80 x 40 x 1 inches, 2024 Forest Floor (front right), washi and plants, 80 x 40 x 1 inches, 2024. In this exhibition, I presented work in washi, textile, and ceramics to investigate permanence and transformation through a regional naturalistic lens. Dimensional washi works encasing local flora were developed in residence at Awagami Factory in Tokushima, Japan. Ceramic works informed by a range of plant matter were produced in Arita, Japan.
Collection of Fragments stoneware and porcelain, 50 x 50 inches, 2026 The wall installation draws together pieces of ceramic artworks that create small traces of nature, both literally and metaphorically. Together they reveal the influence of touch that forms through fragmented recollections of a place or an experience.
Nettle Vessel (before, after) unfired clay and plants (left); fired clay and ash (right), 7 x 4 inches each, 2023 This vessel was made by pressing foraged nettle plants into the raw clay’s surface. What remains of the nettle after firing is ash and its imprint in the fired ceramic. This is an example of a work where the delicate ash can only be preserved through photography, an aspect of my work that I would like to deepen with a 3A Next Level Award.
Bamboo at Night washi and plants, 80 x 40 x 1 inches, 2024 Developed during a residency at Awagami Factory in Tokushima, Japan, this work began with gathering local bamboo from the surrounding mountains. I then encased the bamboo within Kozo fibers, preserving their delicate forms while creating a tension against the depth and darkness of the carbon dyed Kozo plant fibers.
After Winter cast acrylic, 26 x 22 inches, 2026 This piece is of dimensional cast acrylic paint, formed using a clay mold taken directly from weeds and flowers. The casting process captures the delicate textures and irregularities of the plants, preserving the resilience of flora such as weeds and wildflowers that can often be overlooked or extracted from the soil.
Winter (wildflowers) cast acrylic, 14 x 13 inches, 2026 This piece is formed by pressing wildflowers into raw clay, which highlights fine details often unseen. Cast acrylic creates a positive that restores the original surface of the flora. The work was then taken outdoors, where cold temperatures caused the acrylic to crack in unexpected ways.
Meadow (twilight) acrylic on wood panel, 26 1/8 x 19 1/8 x 1.5 inches, 2024 This work is cast from the same mold as After Winter. By layering paint with an airbrush, I create shifts in light and subtle atmospheric variations. What could be an exact replica becomes a distinct and unexpected iteration.