2000 - 2004 Chaffey Community College - Associates Degree
2007 - 2012 Azusa Pacific University - Bachelors of Arts Degree
2013 - 2017 Azusa Pacific University - Masters of Fine Arts Degree
2012 - Outdoors Senior Show exhibition
2017 - Car Disassembled MFA Thesis show
Group Exhibition: "APU MFA Spotlight" @ Exhale Unlimited Gallery, Los Angeles, CA
Born in Montebello, CA
Lives & works in Rialto, CA
My work never starts out with meaning; it starts out with an idea, a shape, a bunch of wiggly
lines that eventually make up an image of an idea that needs to be created in real life; something that I feel will challenge me in my work. After this first step in the process I keep an open mind to what is going on in the world, and as I progress I Gradually infuse subtle innuendos into my work.
Definitive answers are troublesome because what if the answer changes. If your artwork serves a specific purpose, how will you know if everyone understood what you were trying to do?
How are you supposed to decide where your work is best suited if you really do not know where your art is headed?
If you are an artist that does not contemplate for the viewer, are you still an artist? How do you decide at an early stage in your art career - through your dreams and aspirations - where you want to be?
What if a different road is best suited for you? How do you know?
While I was in grade school, I migrated toward the kids that seemed to have everything in
perspective, but that was grade school. What did I know! During this time I first got interested in playing the guitar, mostly because my father listened to bands like Led Zeppelin, Jimmy Hendrix, George Thorogood, Janis Joplin, and so on. I was even lucky enough to study under the likes of John York from
the Byrds. But something in me wasn’t fulfilled and in high school I took a class allowed me to work with clay. From that moment on, I was enchanted by how I could turn a big mass of nothing into something functional: a useful form whether it is a bowl, cup, or a plate. Being able to build things has always been
a family trait. Growing up my father was a contractor who gave me the tools I needed to help me become the creative person I am today. I was unable to really pursue my love of clay until I reached community college; here I honed my skills, despite the instructors who only had their careers in mind instead of molding the students in front of them. After a rebellious phase I felt a calling back to the materials I loved, and decided I needed to
further myself, even though I enrolled at Azusa Pacific University to study pottery making, my eyes were opened to even greater possibilities for what I could do.
A Professor by the name of Sue Nay was able to get her hands on what was still a mold able mind and showed me other abilities I still needed to refine. Throughout the year I spent with her, I discovered how pottery did not have to be the same old bowl or cup; it did not even have to function as such! Sue was the only professor who made me question myself as an artist or potter, if you want to call me that!
After Sue my bubble burst. I realized that the down side to this learning in a silo was that it everything else off in the outside world. I found that contemporary artist don’t talk like I do about my art. They don’t really care what it is made of or what temperature things were fired at. Instead it is all about what does it mean? What is it saying to me? But how can I voice my opinion if I alienate myself from the art
world? Where am I going? Where am I coming from? Where do I want to go? Basic questions every artist asks themselves. What is it that moves me to do what I do? The spring semester before I graduated was a pivotal experience in my art. Before this I was creating the basic pots that every art
student was making. But then I jumped into what really thrilled me about art and ceramics. Three artists I became interested in during this time turned out to be the godfathers of the ceramic movements in California, as well as a student who changed the rules of ceramics. The first was Peter Voulkos, the second was Paul Soldner and the third was Jerry Rothman. Each had their own unique style and technique, one teacher and the others were students. What really focused my attention on these artists was their passion for what they were doing. Paul Soldner --the face of American Raku -- took this technique and made it his own, not following the rules of ceramic art. Peter Voulkos, the man, the
legend, and the art, took ceramics from the arts and craft fairs to the galleries of America, throwing the contemporary art wide open. Then there was Jerry Rothman who found a way to make clay not shrink, and who was able to build with a solid mass and have nothing explode in the kiln.
Even though other artists have influenced my work this doesn’t mean that mine will resemble
theirs. In order to be a successful artist you need to have your own identity, your own look. If your work looks too much like the artists that influenced you, then you just become another artist that is doing what has been done before. So what sets me apart from what influences me? By letting my mistakes become focus of my art, instead of drowning the piece in glaze to cover them up.