Handmade stoneware from a garden shed studio. Made to perfection on the wheel — then the kiln has its say.
From the pottery traditions of Slovakia to a wheel in Maryland, every step has shaped the artist and the art.
Growing up in Slovakia
Raised among centuries of Slovak pottery — bold decoration, functional beauty — though the connection to clay wouldn't awaken until years later, an ocean away.
2017
A Monday evening class at Glen Echo Park, signed up for out of curiosity. The first months were mostly frustration. Then something settled, and the repetition itself became the reward.
Present day
By day, a biomedical researcher immersed in data and precision. By evening, a potter who finds joy in disrupting that very precision — letting fire scatter what hands had ordered.
The philosophy
My work begins in the pursuit of balance. I am drawn to the quiet meditation of centering clay, to the calm of a perfectly rounded vessel, to the wide flare of a rim that seems to resist gravity.
Yet I rarely allow that perfection to remain intact. Into balance, I invite disruption: rough textures that beg to be touched, glazes that scatter like wind over sand, patterns that fracture, shift, or dissolve.
This rhythm of order disturbed mirrors how I experience the world — geometry softened by erosion, stillness broken by ripples, structure unsettled by time. The wheel, the brush, and the kiln become my collaborators.
Clay remembers both the calm of my hands and the chaos of the fire, and in that memory the work comes alive, no longer mine alone.
Four bodies of work, each exploring the dialogue between order and chaos in its own way.
Nothing to carry
The sculptural work. Moon jars, bottles and large closed forms where the surface is the subject — soda and flame settling into crust, flash and crawl. Thrown for symmetry, then handed to the kiln, which has its own opinion.
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Held in both hands
Inspired by the Japanese tradition of chawan, these bowls explore the tension between symmetry and organic irregularity. Geometric patterns emerge and dissolve into texture. Made to be used daily — to develop a patina of memory through repeated handling.
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Daily rituals
Functional forms that invite touch and use. Wide flared rims that seem to resist gravity, crusted edges, glazes pooling toward the centre. These carry the rhythm of everyday life into something worth looking at twice.
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Morning reflections
Where the painting happens. Stripes, grids and interwoven patterns begin as an act of precision, then I push the rhythm until it wavers — shifting lines, overlapping edges, a surface that resists control while still fitting the hand.
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The studio
A wheel, a bench, shelves that are always too full, and an electric kiln in the corner. Small enough that everything is within reach, which suits work that depends on repeating a motion until it comes right.
Each firing method speaks its own language — reduction brings depth, soda adds atmosphere, raku offers drama, oxidation clarity. Knowing which one a pot wants is most of the decision.
Whether you're interested in commissioning a piece or simply curious about the process, I'd love to hear from you.
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