an exhibition reflection: how this reshaped our art practice

This past March, Jim and I exhibited at “Field Notes: Studies in Form and Feeling” at Nidum Gallery. While we’ve participated in several group exhibitions, this one felt different. We were the only 3D artists in a show alongside abstract painters we admire, and the exhibition was part of Charleston by Design, which brought interior designers from all over the world.

It arrived at exactly the right moment.

After an exciting 2025, we’d been reflecting on what we wanted our work to become. We realized we were most fulfilled creating modern, sculptural pieces intended for interiors rather than operating in a production mindset focused on smaller functional ware.

This exhibition became the first real expression of that shift.

For six intense weeks, we built a new body of work that aligned with the show’s theme, complemented the surrounding paintings, and considered how interior designers select objects for a space. It also pushed us to launch our designer trade program formally—something we had been considering for a while, but hadn’t rolled out.

More than anything, though, the show gave us clarity. Here are the lessons I took away from it.

why this body of work matters

This body of work marks a turning point in how we approach our practice.

We’d spent the last couple of years mostly selling at local markets or online. The audience’s expectations at these events had dictated what we created. In our guts, we knew it didn’t feel right for us and decided it was time to phase that out to focus on more artistic forms where we could express ourselves creatively. 

This shift meant going from the question, “What will sell?” to “What belongs in a space?” And, more importantly, “What feels true to the work we want to make?”

For me, this led me to letting my intuition guide the forms, and that changed everything. Some pieces became quiet, grounding objects. Others became more sculptural and expressive. We stopped editing ourselves based on past assumptions and market feedback, and instead created work we would want to live with and look at each day.

Turns out context matters. 

Pieces that may not have resonated in a market setting found strong interest (and homes) within a gallery and design environment. We had already seen that kind of traction with our local gallery partner, Hagan Fine Art, and through other exhibitions. However, it felt different being there in person to watch people interact with the work and hear their thoughts and questions in real time.

Larger works were selected quickly. More experimental forms, like multi-neck vessels, became points of interest. Even older sculptural pieces I created a year ago (like one of my first restless pieces) found renewed relevance.

It reinforced something important: the role of the artist isn’t to predict taste, but to create with clarity and integrity. The right audience will meet the work in the right context.

We saw that shift with Jim’s work too. His new vessel lines—nosara and porto moniz—combine refined, architectural forms with surface variation created through raku and saggar firing. The balance between precision and unpredictability introduced a new depth to his work and opened new directions we’re continuing to explore. We’re excited to see where it goes.

what connects the work

Although we both share similarities in modern, abstract design, one of the clearest takeaways from this exhibition was how distinct our individual artistic styles are. Going forward, we’ll look to define that more clearly.

For me, my work always comes back to softness and movement. I’m drawn to forms that are organic and sculptural—nothing too rigid or overworked. I also really enjoy how light and shadow interact with a piece. A subtle curve, a shift in the silhouette, or a small opening that changes how light moves through it can create a sense of balance.

Surface plays into that too. Sometimes I’ll keep things really minimal and let the raw clay do the work. Other times I’ll bring in more texture with specialty glazes that make the piece feel more tactile.

I usually lean more minimalist, even for pieces that have unique sculptural qualities or color. I’ve realized you can still create something visually striking without it feeling over the top.

Jim’s work approaches form differently, with more structured intentionality. You can tell there’s a lot of thought behind how everything is built and proportioned, almost feeling architectural. What’s interesting is how he brings in raku and saggar firing, which introduces a level of unpredictability that softens that precision.

He balances those smooth, refined lines with more expressive surfaces. His pieces invite people to slow down, spend time with them, and notice the nuances that come through in the firing process.

what we’re exploring next

This exhibition clarified the future direction of our practice.

Both of us will continue to expand into sculptural work (e.g., vessels, sculptures, and wall-based pieces) with a focus on larger scale. Moving away from smaller production pieces allows the work to have more presence and impact within a space. (Although, we still will have smaller pieces from time to time to be accessible!)

We’re also expanding beyond our local market. While Charleston has been an important foundation, our work aligns with broader contemporary, abstract, and design-forward audiences. We’re actively pursuing (and securing) gallery representation and exhibitions in new regions where this work can continue to grow and where collectors can appreciate our individual styles.

At the same time, we’re placing more emphasis on interior design partnerships. Our goal has always been for these pieces to live in real spaces, and working more closely with designers allows the work to be placed with intention.

Lastly, we’re beginning to define our individual artistic identities more clearly. While we continue to share the harlow umbrella, it became clear during this exhibition that our practices are distinct, and that distinction creates new opportunities. Now, we’ll be presenting more intentionally as individual artists while still maintaining our shared foundation.

closing reflection

For a month-long show, we learned a lot. It arrived at a moment of transition and gave us the clarity and confirmation we needed to move forward with confidence.

We’re incredibly grateful to Nidum Gallery for curating such a thoughtful show, for being wonderful partners throughout the process, and for creating an environment where the artists felt truly seen (especially during the Charleston by Design events).

Thank you to the other artists in the show–Anne Abueva, Demetrius Bing, and Beth Northcut Williams–for being kind, supportive, and generous with your knowledge. We feel so privileged to have been featured alongside your work.

And lastly, thank you to our new collectors! It meant the world to us that you came out, spent time with us, and collected. We’re grateful for your support, your curiosity, and the conversations we shared. We hope you love your new pieces for years to come!