My relationship with clay began in the cobblestoned heart of Delft, where as an apprentice I learned to decorate dinnerware in the centuries-old tradition of Delft Blue. It was a practice demanding patience, precision, and deep respect for craft. From there I moved through a handful of Dutch studios, each adding a new layer to my formation: wheel throwing, mold making, glaze chemistry, kiln firing, mixing my own stains and glaze combinations. I collaborated with Dutch potters, absorbed their knowledge, and built the technical foundation that would quietly underpin everything that followed.

From Amsterdam I moved to Chicago, where I studied hand building and wheel throwing at the Little Street Art Center and found community in the vibrant, artist-driven neighborhood of Pilsen. It was a place that taught me as much about art as a lived practice as it did about technique.

In 2004 I arrived in Sydney, and the work began to change. The Australian landscape was vast and luminous, its wild coastlines and eucalyptus light unlike anything I had known in Europe, and slowly it started pressing itself into my hands. I exhibited at the Murray Clay Gallery, the Brenda May Gallery, and MetaLab, and my work found its way into design publications internationally, including a group exhibition at the Dutch Embassy in Canberra celebrating Dutch artists practicing abroad. It was here, in this unfamiliar terrain, that I first began to see what my work was really about: the structures beneath the surface, the patterns nature repeats at every scale, the quiet anatomy of living things.

New York came next. Based in Brooklyn with a studio in Red Hook, I showed work at galleries across the borough, including the Work Gallery and Clover Gallery, and at the Hammond Museum in North Salem. My Delft Blue dinnerware and Wobbly Plates found a home at the Brooklyn Museum shop. Collected by people from Paris to Los Angeles, Tokyo to Copenhagen, they traveled the world in the hands of the people who loved them. In 2016 I made the move that had long felt inevitable, leaving the city for the mountains. Today I live in Woodstock, with a solar-powered studio nestled deeper in the wild of the Catskill Mountains, where the landscape outside my door speaks the same language as the materials on my table. It is here that my most recent work has been shown, at Hawk & Hive gallery.