The porcelain vessels I create are hand-built, and glaze vitrified and/or luster fired with 23k gold.  In the making of the flacons (perfume bottles), I pay homage to the old world methods of Victorian apothecaries and ancient amphorae. The vessels are cool reliquaries. The high-quality porcelain material provides a non-porous, light-shielding seal that helps to preserve the delicate and luxurious fragrance oils inside. The vessels serve as functional art, and a statement of refined quality and attention to artisanal craft while working to preserve and illuminate the memory and art contained within.

My encaustic (wax painting) work starts as hot molten wax monotypes enhanced with watercolor, which are then light box photographed, scaled to canvas, and further augmented with oil paint mediums. (Encaustic)Beeswax and damar resin as artistic mediums, date back to the 1st century and were the oldest medium used for Icon painting/writing. A holy medium, chosen for the translucence of the wax acting as “windows to heaven” and a portal to a realm beyond ours. In my work, I interact with the wax’s veils and ridges, provoking pareidolia so the viewer’s eye insists on faces, entities and landscapes. It’s an exhibition and exaltation of the mind as a “meaning seeking organism”, the mirroring of microcosm and macrocosm in the interplay between heaven and earth, God and human, and our innate human need to create story and spiritual connection.

Between kiln and heat plates, clay and wax perform the same alchemy as perfume — earth transmuted by fire and breath, into vessels made for devotion. Each gesture, a ritual of preservation and revelation. As a multimedia artist with synesthetic attention, my ceramics, my paintings, my perfumes and hypnotic regression work all circulate the same assumption ;

To God, we are a perfume. We are essence, memory and meaning saved and preserved by Christos, (oiled) in a clay vessel. We are earth transmuted by fire and breath, into vessels made for devotion.