The Exposed Series was an extensive material study inspired by wood's natural structure: its fibers. The goal of the research was to expose the wood fibers in a way that honors the natural beauty of the material while demonstrating its incredible resilience.

Woods tested include: Walnut, Black Cypress, Maple, Ash, Beech and White Oak.

EXPOSED TILES

9" x 9" plexiglass.

This presentation demonstrates the main scoring methods used and their typical outcomes. While each tile's illustration of the fibers under tension look similar, the fibers under compression yield a different look based on the type of score mark.

Exposed #1

10" x 14" x 2". ⅝ Thick walnut. Walnut plywood.

This Walnut Tray was made by scoring both sides of the board at 90° in four places to create three corners and 1 false one. The mirrored 90° score was used in order to create a rabbit joint once the wood was folded over as well as a clean inside edge. 

Exposed #1.5

5" x7" x 2". ⅝" Thick white oak. White oak plywood.

Initial tests proved promising for Walnut but after further testing, its fibers and their properties proved too inflexible. New species were tested and White Oak proved to have the best results. For these trays, a single 90° score was made, yielding a more atheistically pleasing outcome from the compressed fibers.

Exposed #2

12" x 18" x 22". ⅞" Thick white oak. Table.

This table was the first large scale demonstration of an ideal exposure of the fibers under tension and compression. 

Exposed #3

18" x 18" x 42". 1 ⅛" Thick white oak. Bench.

If you will, imagine stretching an old rubber band versus a new one. The old one will bend into a radius just fine but will begin to crack on the surface. The new one will keep stretching and bending with ease.

This is the main difference between Exposed #2 and #3. Exposed #2 had a much lower moisture content, so when the fibers were stretched they ultimately snapped, creating tiny, shard-like fractures. This also meant that the fibers under compression were more likely to conform to a radius rather than bend on their own.

Exposed #3 was green wood. Rather than snapping when they were stretched, the fibers stayed together and behaved more like grain run-out. This also affected the fibers under compression; with too much moisture the fibers curve and create a self-made radius rather than conforming to the jig.

48" x 17.5" x 16". Ash.

Flow is the prelude to Exposed and was my initial inspiration for exploring the characteristics of wood fibers. 

Designed around frame and panel construction, each rail had the same amount of cuts but were generated at random intervals and angles. This produced slots that allowed thin strips of wood to be inserted and bent uniquely by each cut, creating the panel. The panel was connected to the stiles and then assembled to the structure. 

32.5" x 18" x 16". Walnut, bent lamination.

12" x 14" x 6". Walnut and Hickory.

Derived from twin wardrobes, these cabinets were inspired by my twin sister. The wood choice abstracts our hair color - one of our most noticeable physical differences - and the overall design represents our relationship as sisters.

22inH x 18in∅. Hard Maple & Cherry.

The negative space created within the triangular stretchers was the focal point for the design process. In order to reveal this negative space, the stretchers were brought through the top surface. The legs and bottom stretchers were designed to carry the eye through the piece, always coming back to the negative space in the stretchers.

19.5" Ø. European Beech veneer 3-ply.

An experimentation with bent lamination and modular forms. This half icosahedron consists of 30 'pedals' and 10 equilateral triangle frames, combined to create an organic sculpture.

7 ¾ " x 5 ¾" x 3 ¼". Cherry & brass.

Made to display and protect a Ming Dynasty roofing shingle recovered from a demolition sight in Beijing, China.

14" x 12" (top) ⌀ x 14" (base) ⌀. Glass. 

4" x 32" x 18". Cork.

An oversized push pin made of glass.

Raku Vase

18" ⌀ x 20"Raku firing. Mystery glaze. Unknown Cone.

Herb Jar

Herb Jar. Stoneware Cone 11 with celadon glaze. Text translates to 'resting in the bamboo grove'.

Cereal Bowls

Cone 6, electric. Float blue glaze on porcelain.

This glass coffee table top is the culmination of research done to manifest the mark-making abilities of glass casting. Due to the process, the glass yields two distinct patterns. A 'pedal side' and a 'leopard side'.

Glass is 3’ø.

WAVE

2' ⌀. Coil built. Stoneware cone 11, reduction with cobalt wash and porcelain slip detailing. Volcanic rock upright.

Representation of past struggles with depression.

Shell

16" x 6" ⌀. Stoneware, thrown and altered. Cone 11 Carbon Trap Shino reduction.

An old self portrait. 

2 ¾" x 2 ⅛" x 3 ½". ⅛" thick slab. Stoneware. Cone 11 reduction, white glaze. An exploration focusing on the limits of clay particles.

Folding a single slab of clay using origami techniques was the easy part. Every container however would crack in the kiln. I determined that too much stress was being held in the particles and after trila and error discovered that thinning out the slab in increments of  ⅛" thickness and flipping the slab after each pass (similar to how wood would be milled) determined its success. 

Baby Heads and Spaghetti

20" ⌀ x 9". Porcelain slip cast baby heads. Extruded 'noodles'. Jigger platter. Cone 5.

Inspired by my school's lunches. 

Chick

18" x 16" x 12". Altered slip cast. Terracotta, Cone 05.

A new definition for the word 'chick'.

Ooccoo

50 lbs of Solid Cast Iron.