|CM: Is the restraint and simplicity in both the form and surfaces of your work something that you have intentionally cultivated, or has it developed more intuitively?
CM: I’ve always been attracted to minimalism and simplicity. I was born with a sense of nostalgia for a time I never lived through. The textiles, artwork, and household items of the mid-20th century have always appealed to me. I am torn between a love for these industrially designed objects and an attraction to the handmade. I love the profile of forms from this time period, the graceful silhouette of an Eva Zeisel teapot or the beautifully irregular incised lines on a Lucie Rie bowl.
I appreciate a pretty wide variety of work, but am most drawn to forms that are well considered, graceful, and often quite simple, or quiet in some way. I am compelled by the details, the transition line where a spout meets the pot, the negative space inside of a handle, or a surprise drawing on the bottom of a plate. I like the sense of discovery that can happen as you become more familiar with a pot. It’s a lot like getting to know a person better, as you hear their stories and the details of their life.
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