My relationship with clay began in the cobblestoned heart of Delft, where as a apprentice I learned to decorate dinnerware in the centuries-old tradition of Delft Blue — 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 — a place that taught me as much about art as a lived practice as it did about technique.

In 2003 I arrived in Sydney, and something shifted. The vast, luminous Australian landscape — its wild coastlines, its eucalyptus light, its textures unlike anything in Europe — began to find its way into my work. With my studio in the heart of Paddington, I exhibited at the Murray Clay Gallery, the Brenda May Gallery, and at MetaLab, the Surry Hills interdisciplinary design studio. My work was also featured in a group exhibition at the Dutch Embassy in Canberra, celebrating Dutch artists and their practice abroad. Throughout these years my work began to attract the attention of design publications, earning features in design magazines internationally.

New York came next. Based in Brooklyn with a studio in Red Hook, I showed work at the Work Gallery, the Hammond Museum in North Salem, and galleries throughout the Hudson Valley. In 2016 I made the move that felt inevitable — leaving the city for the Valley itself. 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.