"A pot is like a book…how much do I want to give away on the first page?” This thought came to me recently when I was working in the studio, and I felt the need to write it down. It is a nice reminder to myself as to why I do the things I do in my studio practice. My work tells a story intended to be “read” over several chapters. My pots are not loud nor are they big. They are quiet and small and if one is willing to sit with them, they have a lot to tell. They are my life story; the ups and downs, who I have met along the way, and the family I have raised. They are my collected moments. I’ve always been intrigued by collection; what we collect, why we collect, and how objects change once they move from a place of utility into a collection. Within a collection everyday objects have the ability to gain importance as members of a whole. They start to become more than the sum of their parts, subtle nuances are noticed, and there is the potential to give value to valueless objects. I find function a vehicle for expression, while also allowing approachability to my work.  Sets, such as creamer and sugars and salt and peppers, lidded containers, and pails are my primary forms. The surfaces of my hand built pots are adorned with subtle layers that are not meant to be recognizable on their own, rather viewed as the sum of their parts. These surfaces are achieved by using stencils, stamps, slip trailing and brushing on several coats color in the form of terra sigillata, underglaze, and glaze.My goal is to create a dialogue with the user, and with this they might tap into unexpected memories, thoughts, and experiences. What continues to fuel my interest in the making of clay objects is a constant curiosity to fulfill a set of personal intentions. I believe this continuous search allows my work to remain relatable and timeless.

Liz grew up in Northern California and was a child of both an entrepreneur and an admirer of the arts. Both parents instilled a determination and confidence in her that she could succeed at anything she worked towards. She attended the University of Minnesota in Minneapolis to complete her Master of Fine Arts in 2004. Since graduation, she has lived and worked as a studio artist in Bakersville, North Carolina with her husband and glass artist, Scott Summerfield. She has been an instructor and visiting artist at numerous clay facilities, colleges, and universities. She exhibits and sells her work nationally through exhibitions, galleries, and fine craft shows. Her work resides in various permanent collections. She has been featured and on the cover of Ceramics Monthly and Clay Times magazine. She has also written several articles and created an instructional DVD produced by Ceramics Arts Daily featuring her ceramic process and her work. In 2020, she and Scott created Double Island Studio, a communal space created for art making, teaching, and learning.