B-mix, underglaze, wire, encaustic wax, Black 3.0.

7.75 x 6.5 x 3.75 in

There are various parasites that affect moths, including the cordyceps fungus which inspired this design. Spores infect the host, taking control of its nervous system and effectively killing it, and then the fungus fruits to disperse more spores.

B-mix, underglaze, wire, encaustic wax, Black 3.0.

7.75 x 6.5 x 3.75 in

There are various parasites that affect moths, including the cordyceps fungus which inspired this design. Spores infect the host, taking control of its nervous system and effectively killing it, and then the fungus fruits to disperse more spores.

B-mix, underglaze, wire, encaustic wax, Black 3.0.

7.75 x 6.5 x 3.75 in

Detail of the hollow.

B-mix, underglaze, wire, encaustic wax, Black 3.0.

7.75 x 6.5 x 3.75 in.

Detail of the fruiting parasite.

B-mix, porcelain, underglaze, encaustic wax.

4.5 x 4.5 x 4.25 in.

An old life leaves the foundation for a new one to grow stronger. There is room to flourish, and the legacy continues.

B-mix, porcelain, underglaze, encaustic wax.

4.5 x 4.5 x 4.25 in.

Detail of the sprout.

B-mix, porcelain, underglaze, encaustic wax.

4.5 x 4.5 x 4.25 in.

Detail of underside.

B-mix, porcelain, underglaze, encaustic wax.

4.5 x 4.5 x 4.25 in.

An old life leaves the foundation for a new one to grow stronger. There is room to flourish, and the legacy continues.

B-mix, porcelain, underglaze, encaustic wax.

4.5 x 4.5 x 4.25 in.

Detail of the sprout.

B-mix, porcelain, underglaze, encaustic wax.

4.5 x 4.5 x 4.25 in.

Detail of underside.

B-mix, porcelain, underglaze, encaustic wax, heavyweight board, Black 3.0.

8 x 8 x 1.75 in.

Some moth species pupate just below the soil. This reliquary symbolizes protection and abundance from the ground where trees, flowers, and even moths can belong.

B-mix, porcelain, underglaze, encaustic wax, heavyweight board, Black 3.0.

8 x 8 x 1.75 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

B-mix, porcelain, underglaze, encaustic wax, heavyweight board, Black 3.0.

8 x 8 x 1.75 in.

The frame is an abstracted cross-section of a tree — one with reversed flutes like that of a ficus.

Stoneware, porcelain, oxide, underglaze, encaustic wax, string.

9.25 x 12.75 x 1.5 in.

We frame pictures and display them as a reminder of the memories they hold. This frame shows that the lives of the moths are not forgotten, that they have meaning, and that their story continues in the afterlife.

Stoneware, porcelain, oxide, underglaze, encaustic wax, string.

9.25 x 12.75 x 1.5 in.

The section of fluid carvings represents the landscape of the spirit world.

Stoneware, porcelain, underglaze, string, kozo paper, ink.

16.5 x 23.5 x 2.25 in.

The cocoon-like urns hang within frames that reference the cross-sections of trees—a familiar environment that caterpillars may choose to pupate. These frames commemorate the lives of the moths and wish them well in the spirit world.

Stoneware, porcelain, underglaze, string, kozo paper, ink.

16.5 x 23.5 x 2.25 in.

Each frame is backed with a drawing that references the spirit world.

Stoneware, porcelain, underglaze, string, wire.

14 x 9 x 9.5 in.

Parallel to Little Ones | Letting Go - this sculpture references cycles of parent & child, and life & death. The urns hang from flora forms that are child-like with their small round bodies and fetal positions. These little ones are also parents as they offer sanctuary to the moths. One can only hold on for so long before they need to let go.

Stoneware, porcelain, underglaze, string, wire.

14 x 9 x 9.5 in.

Parallel to Little Ones | Letting Go - this sculpture references cycles of parent & child, and life & death. The urns hang from flora forms that are child-like with their small round bodies and fetal positions. These little ones are also parents as they offer sanctuary to the moths. One can only hold on for so long before they need to let go.

Stoneware, porcelain, underglaze, string, wire.

14 x 9 x 9.5 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

Stoneware, porcelain, oxide, string.

7 x 7 x 1.25 in.

We frame pictures and display them as a reminder of the memories they hold. This frame shows that the lives of the moths are not forgotten, that they have meaning, and that their story continues in the afterlife.

Stoneware, porcelain, oxide, string.

7 x 7 x 1.25 in.

We frame pictures and display them as a reminder of the memories they hold. This frame shows that the lives of the moths are not forgotten, that they have meaning, and that their story continues in the afterlife.

Stoneware, porcelain, oxide, string.

7 x 7 x 1.25 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

Porcelain, string.

Variable size. Smallest urn 3.5 x 2.5 x 2.5 in., largest urn 6 x 3 x 3 in.

Life is fleeting and there is never enough sanctuary. In the end, these urns and these ritual processes may be meaningless. I want to believe that the moths can find comfort even if all that remains is something to show that they were once here, present and real.

Porcelain, string.

Variable size. Smallest urn 3.5 x 2.5 x 2.5 in., largest urn 6 x 3 x 3 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

Porcelain, stoneware, oxide, string.

21 x 17 x 8 in.

There is a theory that moths use celestial navigation, meaning that they use the moon as a static point in order to fly straight. Based on that theory, moths circle fluorescent lighting because it's much much closer than the moon. This piece is meant to mimic the crescent shape of the moon with the idea that the moths will find their way in the afterlife.

Porcelain, stoneware, oxide, string.

21 x 17 x 8 in.

There is a theory that moths use celestial navigation, meaning that they use the moon as a static point in order to fly straight. Based on that theory, moths circle fluorescent lighting because it's much much closer than the moon. This piece is meant to mimic the crescent shape of the moon with the idea that the moths will find their way in the afterlife.

Porcelain, stoneware, oxide, string.

21 x 17 x 8 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

Porcelain, stoneware, oxide, string.

21 x 17 x 8 in.

Every urn is fired with one or multiple moths inside. Sometimes the ash creates a glaze — some brown glaze can be seen at the bottom of this urn.

Stoneware, oxide.

16 x 8 x 7 in.

I started thinking about spaces and how the ceramic studio was not an appropriate place for the moths. I sought to create an imaginary space that was more suitable- something that could seemingly belong in nature with dark places to take shelter and hide.

Stoneware, oxide.

16 x 8 x 7 in.

I started thinking about spaces and how the ceramic studio was not an appropriate place for the moths. I sought to create an imaginary space that was more suitable- something that could seemingly belong in nature with dark places to take shelter and hide.

B-mix, porcelain, underglaze, encaustic wax, Black 3.0.

7 x 6.5 x 2 in.

Birds and bats are among many of the predators that hunt moths. This guardian embodies those threats to blend in and carry the moth safely to the next life.

B-mix, porcelain, underglaze, encaustic wax, Black 3.0.

7 x 6.5 x 2 in.

Birds and bats are among many of the predators that hunt moths. This guardian embodies those threats to blend in and carry the moth safely to the next life.

B-mix, porcelain, underglaze, encaustic wax, Black 3.0.

7 x 6.5 x 2 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

B-mix, underglaze, encaustic wax, Black 3.0.

9 x 4 x 2.5 in.

This guardian adorns an eye-spot much like in the wing patterns of moths. Its duty is to frighten away predators from transcending moth spirits.

B-mix, underglaze, encaustic wax, Black 3.0.

9 x 4 x 2.5 in.

This guardian adorns an eye-spot much like in the wing patterns of moths. Its duty is to frighten away predators from transcending moth spirits.

B-mix, underglaze, encaustic wax, Black 3.0.

9 x 4 x 2.5 in.

Detail of the eye-spot.

B-mix, porcelain, underglaze, encaustic wax, wire, Black 3.0.

13.5 x 7.5 x 5 in.

Some moths, such as silk moths, must rely on the energy they consumed as caterpillars to survive in their adult cycle because they don’t have the ability to feed. They search for mates and then perish in about a week.

B-mix, porcelain, underglaze, encaustic wax, wire, Black 3.0.

13.5 x 7.5 x 5 in.

Detail of the hollow.

B-mix, porcelain, underglaze, encaustic wax, wire, Black 3.0.

13.5 x 7.5 x 5 in.

The surviving flowers represent the last bit of life in the moths before they fade away.

B-mix, porcelain, underglaze, encaustic wax, wire, Black 3.0.

13.5 x 7.5 x 5 in.

The flowers lose their petals as death draws nearer.

Stoneware, porcelain, oxide, underglaze, encaustic wax, string.

16.25 x 9 x 1.5 in.

We frame pictures and display them as a reminder of the memories they hold. This frame shows that the lives of the moths are not forgotten, that they have meaning, and that their story continues in the afterlife.

Stoneware, porcelain, oxide, underglaze, encaustic wax, string.

16.25 x 9 x 1.5 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees. The translucency, even without glaze, is quite visible.

Stoneware, porcelain, oxide, underglaze, encaustic wax, string.

16.25 x 9 x 1.5 in.

Sometimes the ash from the moths creates a glaze — some red glaze can be seen at the bottom of this urn.

Stoneware, porcelain, underglaze, string.

14.5 x 8.5 x 7.5 in.

Parallel to Little Ones | Holding On - this sculpture references cycles of parent & child, and life & death. The urns hang from flora forms that are child-like with their small round bodies and fetal positions. These little ones are also parents as they offer sanctuary to the moths. One can only hold on for so long before they need to let go.

Stoneware, porcelain, underglaze, string.

14.5 x 8.5 x 7.5 in.

Parallel to Little Ones | Holding On - this sculpture references cycles of parent & child, and life & death. The urns hang from flora forms that are child-like with their small round bodies and fetal positions. These little ones are also parents as they offer sanctuary to the moths. One can only hold on for so long before they need to let go.

Stoneware, porcelain, underglaze, string.

14.5 x 8.5 x 7.5 in.

Parallel to Little Ones | Holding On - this sculpture references cycles of parent & child, and life & death. The urns hang from flora forms that are child-like with their small round bodies and fetal positions. These little ones are also parents as they offer sanctuary to the moths. One can only hold on for so long before they need to let go.

Stoneware, porcelain, underglaze, string.

14.5 x 8.5 x 7.5 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

Stoneware, porcelain, underglaze, string.

14.5 x 8.5 x 7.5 in.

Sometimes the ash from the moths create a glaze — some red glaze can be seen in the throwing lines of this urn.

Stoneware, porcelain, underglaze, string.

14.5 x 8.5 x 7.5 in.

Detail of the flower buds.

Stoneware, porcelain, underglaze, string.

14.5 x 8.5 x 7.5 in.

Each urn is carved with the utmost care. The translucency, even without glaze, is quite visible.

Stoneware, porcelain, oxide, string, wire.

7 x 7 x 3 in.

This little guardian represents youth. Both this guardian and the spirit of the moth have a whole life ahead of them in the spirit world.

Stoneware, porcelain, oxide, string, wire.

7 x 7 x 3 in.

This little guardian represents youth. Both this guardian and the spirit of the moth have a whole life ahead of them in the spirit world.

Stoneware, porcelain, oxide, string, wire.

7 x 7 x 3 in.

Windows on the reverse side are inspired by the spaces between trees. I’m curious about separations of worlds, such as windows, doors, portals, etc. Sometimes these interfaces are just for viewing and sometimes they are for passage. What defines these action cues and how can they be skewed?

Stoneware, porcelain, oxide, string, wire.

7 x 7 x 3 in.

Detail of the underside of a leaf.

Stoneware, porcelain, oxide, string.

19 x 9 x 7 in.

A funerary object for the afterlife of moths. The urn is housed in what can be considered tree-like and animal-like; an environment and a guardian. The buds are parallel with the cocoon in meaning — the stage right before their transformation and death.

Stoneware, porcelain, oxide, string.

19 x 9 x 7 in.

A funerary object for the afterlife of moths. The urn is housed in what can be considered tree-like and animal-like; an environment and a guardian. The buds are parallel with the cocoon in meaning — the stage right before their transformation and death.

Stoneware, porcelain, oxide, string.

19 x 9 x 7 in.

The urn hangs safely within the guardian’s chest cavity.

Stoneware, porcelain, oxide, string.

19 x 9 x 7 in.

Detail of the flower buds.

Porcelain, stoneware, oxide, string.

28 x 12 x 12 in.

I sought to create an environment for the urns, using the idea of imaginary spaces. This piece is based off of the branches of shrubs and trees where a moth may create a cocoon. The urn is suspended from the tip of the "branch", but is still cradled within its form.

Porcelain, stoneware, oxide, string.

28 x 12 x 12 in.

I sought to create an environment for the urns, using the idea of imaginary spaces. This piece is based off of the branches of shrubs and trees where a moth may create a cocoon. The urn is suspended from the tip of the "branch", but is still cradled within its form.

Porcelain, stoneware, oxide, string.

28 x 12 x 12 in.

Every urn is fired with one or multiple moths inside. Each one has a unique carved design with various motifs including: flora, water, the moon, and the spaces between trees.

Porcelain.

8 x 4 x 4 in.

Attracted to the fluorescent lighting, moths find their way into the studio everyday. Their small bodies dot the floor and become ravaged by the foot traffic. Taking pity on them, I started to collect these tiny winged beings and stashed them in a bowl. After a while, my collection began to overflow, so I decided that I needed to do something else to lay them at rest. The metamorphosis of a moth takes place in a cocoon much like pots in a kiln. Synthesizing these ideas, I created a cocoon-like vessel to house the moths and then proceeded to fire them in the kiln. At the very bottom of the vessel is a small patch of color created from the ash of the moths.

Porcelain.

8 x 4 x 4 in.

Attracted to the fluorescent lighting, moths find their way into the studio everyday. Their small bodies dot the floor and become ravaged by the foot traffic. Taking pity on them, I started to collect these tiny winged beings and stashed them in a bowl. After a while, my collection began to overflow, so I decided that I needed to do something else to lay them at rest. The metamorphosis of a moth takes place in a cocoon much like pots in a kiln. Synthesizing these ideas, I created a cocoon-like vessel to house the moths and then proceeded to fire them in the kiln. At the very bottom of the vessel is a small patch of color created from the ash of the moths.