The photographer Walker Evans, hose images capture abandonment and distill the ordinary into a spare and poetic vision of American lire, is a strong influence on my work. I grew up on the margins, the edge of a small town in 1950’s Southern California. Casual and seemingly, unimportant these ceramic constructions have their origins in the rows of canning jars lining my mother’s yellowed pantry and the rough implements, which hung at the back of my father’s tool room.

Recorded in the clay surface is an investigation of process, the mark of the hand and the expressionistic quality of the color remind the viewer how the work was built. These pieces hint at the familiar, re-examining the space we inhabit the bowls on a counter top, the bottle collection on a ledge. Spare and poetic, these casual seeming but carefully composed still-life constructions reflect on the nature of function of the materialness of the clay. In his article in “Ceramics: Art and Perception” David Brian writes that Selvin invites us to “leave the utilitarian world and partake of the world of ideas from which the artist creates. This journey away from the ordinary brings a new way of looking at things. Upon returning to the practical world, nothing looks the same.”