About the Work

I make two lines of work. Slip-cast porcelain tableware and jewelry. Both incorporate antique Grand Tour cameos. The tableware pairs traditional forms with modern, tactile finishes & the jewelry translates the cameos into wearable form. Both share the same design philosophy, rooted in curiosity, sensory appeal, and pieces that improve with age. Rather than applying glaze to the exterior, I tint the clay itself. It helps to preserve the detail, which matters particularly on the relief work in the cameos and the clean lines of the tableware forms. The interiors of my vessels are clear glazed and the exteriors are hand polished and waxed to a smooth finish.

The studio is a work in progress and I continually struggle to maintain peace with that. Ceramics are unpredictable, and I'm constantly adjusting, troubleshooting, and figuring out how to introduce new things alongside what I already make. Some days that's exhilarating, some days it's humbling, and most days it's both.

Availability

Getting the work to people is something I'm still figuring out — like the studio itself. For now, here's how you can find it:

My ceramics are limited, not as a marketing strategy, but because that's the reality of how I work. I produce everything myself, and the process doesn't lend itself to large quantities.Ceramics are available through pre-orders a few times a year, occasional drops of finished work, a small number of select retailers in the US, and a handful of in-person sales throughout the year. Pre-orders are the best way to get exactly what you want — the specific color, form, and cameo — and typically ship within four to six weeks. Jewelry is available to order year-round.

The nature of the work doesn't lend itself to commissions, so I don’t take them on. ..

The best way to know when pre-orders and drops go live is to follow along on Instagram or sign up for the newsletter — that's where I announce dates and share previews first. Fair warning: I'm on Instagram far more than I am in your inbox, so the newsletter is more of a rare treat than a regular occurrence.

Background

Before the studio, I spent 17 years as Editorial Director at Martha Stewart Living in New York City. It was an ideal place for someone endlessly curious about materials, techniques, and process - constantly learning, in the company of beautiful objects, and thinking about what makes something well designed and worth keeping. That experience shaped both my design sensibility and my deep appreciation for objects that are made with intention. I came to ceramics during a master's program in industrial design at the Pratt Institute, where a single class turned into something I couldn't put down. For years it ran alongside my editorial career as a hobby. Eventually it took over, which how I ended up in my studio outside Philadelphia.