Constructive Chaos.
Making things make sense.
Making things make sense.
What I’ve Done:
Community Organizing + Experience Design
R&D + Industrial Design
Assisting
Academic Work
Fine Art 
Functional Pottery
Banter - San Art Gallery 2025
hand built + 3D printed ceramics | flourescent paint
Shown at @sanartframing in my show “A Place to Go” in collaboration with Aidan Grueling.
Banter explores conversation between modes of making.
A hand-built ceramic form is digitally scanned and reprinted using a ceramic 3D printer, resulting in two objects that are visibly the same, yet materially and procedurally distinct.
Placed together, the forms appear to speak to one another—one shaped by touch, intuition, and time; the other translated through data, code, and machine precision.
The work is playful in spirit, using duplication and difference to question authorship, authenticity, and how meaning shifts as objects move between the handmade and the digital.
Banter explores conversation between modes of making.
A hand-built ceramic form is digitally scanned and reprinted using a ceramic 3D printer, resulting in two objects that are visibly the same, yet materially and procedurally distinct.
Placed together, the forms appear to speak to one another—one shaped by touch, intuition, and time; the other translated through data, code, and machine precision.
The work is playful in spirit, using duplication and difference to question authorship, authenticity, and how meaning shifts as objects move between the handmade and the digital.
Hearth - San Art Gallery 2025
(For Food, For Raiment, For Life, For Opportunity, For Friendship and Fellowship)pit fired 3D printed ceramics | flourescent paint | cremated remains
Shown at @sanartframing in my show “A Place to Go” in collaboration with Aidan Grueling.
“Hearth” bridges analog and digital fabrication. The primary form was hand-built during a residency with @lyndaweinman, then 3D scanned using @polycam3d, scaled in Rhinoceros 3D, and 3D printed with the Brutum ceramic printer by @vormvrij3d, creating this iteration of the form.
A lot of my work in “A Place to Go” draws from Octavia Butler’s “Parable” series (of the Sower // of the Talents).
‘Hearth’ references Earthseed’s burial rituals.
This piece was pit-fired on my family’s land in northern Michigan, with some of my grandparents’ ashes.
While their ashes weren’t mixed into soil to grow new life in the form of a tree—as Earthseed prescribes—new life emerges through the act of creation itself: a work of art imbued with the remnants of two people who championed my pursuit of art from the beginning.
There is also new life in the memory of the ritual itself—of my dad and I tending the fire together.
“We give our dead to the orchards and the groves.
We give our dead to life.”
“Hearth” bridges analog and digital fabrication. The primary form was hand-built during a residency with @lyndaweinman, then 3D scanned using @polycam3d, scaled in Rhinoceros 3D, and 3D printed with the Brutum ceramic printer by @vormvrij3d, creating this iteration of the form.
A lot of my work in “A Place to Go” draws from Octavia Butler’s “Parable” series (of the Sower // of the Talents).
‘Hearth’ references Earthseed’s burial rituals.
This piece was pit-fired on my family’s land in northern Michigan, with some of my grandparents’ ashes.
While their ashes weren’t mixed into soil to grow new life in the form of a tree—as Earthseed prescribes—new life emerges through the act of creation itself: a work of art imbued with the remnants of two people who championed my pursuit of art from the beginning.
There is also new life in the memory of the ritual itself—of my dad and I tending the fire together.
“We give our dead to the orchards and the groves.
We give our dead to life.”
Blossoming Spine - San Art Framing Gallery 2025
handbuilt ceramic sculpture
Swamp Scum - 2023
3D printed eramic sculpture
MugComposition no.130 - Duane Reed Gallery, 2022
MugComposition No. 130 is part of an ongoing series by Matt Mitros at the Duane Reed Gallery in St. Louis, Missouri. My piece Swamp Scum served as the foundation for this MugComposition.
I created Swamp Scum by 3D scanning beach rocks in Santa Barbara, California, then refining and sculpting the scans in Rhinoceros 3D. The final forms were optimized for 3D printing and produced in clay using VormVrij’s Lutum printer.
The glaze is a custom formulation developed by James Haggerty.
Progress not Perfection - Patton Malott Gallery 2022
Between 2020 and 2022, I spent two weeks each summer working with Ron Rael, Del Harrow, and a wonderful cohort of artists in the Advanced Mentorship Program at Anderson Ranch Arts Center. This piece was part of the showcase in 2022.
In Centering in Pottery, Poetry, & the Person by MC Richards, she writes, "If we don’t connect — person to person, center to center — then we will get lost in a dizzying maze of reflection." That image of a dizzying maze has stayed with me. I originally envisioned this piece as a matrix of four tiles to represent that maze. However, due to a couple of misprints, I wasn’t able to finish the last two tiles before we left for Aspen. So, I pivoted.
Over the past few years, I’ve become increasingly drawn to gabion baskets. I’ve seen them scattered across Red Rock Canyon National Park in Las Vegas, in construction sites, and lining roads. At first, their purpose wasn’t clear to me, so I researched them. One of the many functions of gabion baskets is to serve as a temporary wall, a placeholder. I decided to make a couple that reflected the shapes of the remaining two tiles to complete the matrix.
In AA, we talk a lot about “progress, not perfection.” Perfection is unattainable, and what matters is the progress we make. Sometimes that progress leads us to places we never intended, but that doesn’t make the journey wrong — just different.
This piece is different from what I originally intended, but it’s still “right,” even if it feels a little unfinished or out of place. It’s still “in progress.” As someone who struggles with imposter syndrome, I’m learning to remind myself that we are all works in progress. Even when we feel unfinished or out of place, we are still valid, and we still belong.