About the Work

I design and produce porcelain tableware and jewelry, much of it built around antique Grand Tour cameos that I collect. The cameos found their way into the work through jewelry first, a modern take on an old form, lately I've enjoyed finding ways to bring them into the vessels too, where they sit differently.

Both follow the same instinct: a preference for things rooted in history, sensory appeal, and the kind of beauty that deepens rather than fades.

The clay is tinted rather than glazed on the outside. Interiors are clear glazed; exteriors are hand polished and waxed to a finish that rewards handling.

The studio is a work in progress and I'm constantly making peace with that, or trying to. Ceramics are unpredictable. I'm always adjusting, troubleshooting, figuring out how to introduce something new without losing what's already working. Some days that's exhilarating, some days it's humbling, and most days it's both.

Availability

Getting the work to people is something I'm still figuring out — like the studio itself. For now, here's how you can find it:

My ceramics are limited, not as a marketing strategy, but because that's the reality of how I work. I produce everything myself, and the process doesn't lend itself to large quantities.Ceramics are available through pre-orders a few times a year, occasional drops of finished work, a small number of select retailers in the US, and a handful of in-person sales throughout the year. Pre-orders are the best way to get exactly what you want — the specific color, form, and cameo — and they typically ship within four to six weeks. Jewelry is available to order year-round.

The nature of the work doesn't lend itself to commissions, so I don’t take them on.

The best way to know when pre-orders and drops go live is to follow along on Instagram or sign up for the newsletter — that's where I announce dates and share previews first.

Background

Before the studio, I spent 17 years as Editorial Director at Martha Stewart Living in New York City. It was an ideal place for someone endlessly curious about materials, techniques, and processes. That experience shaped both my design sensibility and my deep appreciation for objects that are made with intention. I came to ceramics during a master's program in industrial design at the Pratt Institute, where a single class turned into something I couldn't put down. For years it ran alongside my editorial career as a hobby and eventually it took over!