My current body of work is centered around functionality. The forms that I create are specific to their functions, typically inspired by historical Islamic pots as well as Islamic architecture, such as arches and domes. While the pots are being thrown, I am constantly thinking of how surface design elements will be able to interact with the forms in such a way that enhances specific parts. My pots are intentionally thrown very smooth so that the only interest that the surface provides comes purely from surface design created through drawing with under glaze, wax resist, sgraffito, stamping, slip trailing and glaze. My slip-cast cups are cast smooth, and then stamped and embellished in the same way as my thrown work. The combination of these processes creates complex patterning throughout the forms, which adds repetition to the surface, drawing one’s eye around the piece to each of the parts that I intend to be noticed.
These patterns are typically derived from a simplified version of patterns found in Islamic tiles, Indian Henna designs, and mandalas, as well as Islamic, Indian, and Moroccan textiles. When looking at the patterns used in my inspiration, I find shapes that tessellate together well and place them onto my work in such a way that it creates interesting positive and negative space within the pattern.
These patterns are typically derived from a simplified version of patterns found in Islamic tiles, Indian Henna designs, and mandalas, as well as Islamic, Indian, and Moroccan textiles. When looking at the patterns used in my inspiration, I find shapes that tessellate together well and place them onto my work in such a way that it creates interesting positive and negative space within the pattern.