One of the qualities that sets my work apart as a ceramic artist is my background in chemistry. From taking AP science and honors ceramics side-by-side in high school to managing both chemistry labs at Brown University and ceramics courses at RISD, I've spent my life at the intersection of science, art, and design. Whether teaching chemistry during the school year or ceramics in the summer, I’ve always pursued a creative dialogue between these disciplines.
My relationship with clay began in 1994 and has deepened through years of experimentation, exploration, and study. A pivotal moment came in college when I took a ceramic material science course at RISD while majoring in chemistry at Brown. I began testing unconventional materials—often with surprising results—and earned the nickname “Crazy Chemist” for my unpredictable yet fascinating outcomes. Though some early mishaps included accidental chlorine gas and a hydrochloric acid incident that burned through my pants, these experiences shaped my approach. Today, safety is central to both my artistic and teaching practices.
In 2018 I focused on the chemistry of glazes, particularly those involving rare earth elements like praseodymium, neodymium, holmium, and erbium. These lanthanide oxides are non-toxic and valued for their ability to produce vibrant, often metameric colors that shift under different lighting conditions. I'm also one of the few ceramic artists working with depleted uranium (U-238), a less radioactive form of the element historically used in glass and ceramic art. After extensive safety research—including consultation with the U.S. Nuclear Regulatory Commission—I use uranium oxides safely sealed in borosilicate glaze matrices, the same durable glass used in nuclear waste containment.
In addition to these glaze explorations, I’m deeply engaged in raku firing processes, especially lustre glazing techniques. These low-temperature, reduction-based firings demand a nuanced understanding of glaze chemistry and kiln atmosphere dynamics. By combining metal chloride fumes, combustible materials, and carefully timed reduction cycles, I aim to create iridescent, unpredictable surfaces that reflect both the scientific and alchemical nature of ceramic transformation.
By drawing on my STEM foundation, I integrate glaze chemistry, clay body material science, and modern 3D clay printing techniques to push the boundaries of ceramic art. My work embodies a lifelong fascination with how science and art can inform and elevate one another, creating pieces that are as technically rigorous as they are conceptually bold.
