Caroline's studio practice has long circled the aesthetics of everyone’s least-favored pots from the wood kiln—the underfired pots, often stubbornly and not without great effort, from the far reaches of a kiln. These are the pots that might otherwise be unceremoniously tossed to the shard pile: surfaces marked by muted flame, a light non-stick dusting of ash, and the quiet presence of bare clay. Caroline is drawn to their subtlety—to pots that resist immediate resolution and insist on unfolding slowly over time.
