



Hand-building makes it possible to begin with slabs and constructed sections rather than a single centered form on the wheel. Mark uses that freedom to join volumes, shift proportions, and create silhouettes that feel architectural, playful, or quietly irregular.
Texture is added while the clay is still responsive, then clarified by layered glaze after the first firing. Shino, dark Tenmoku, and multicolor surfaces settle differently across edges, impressions, and seams, preserving evidence of how each vessel was assembled. These pieces sit between vase, container, and sculptural object.



