“It’s been the most rewarding thing. I’m not hanging up the boots.”
When did art gain an equal interest as soccer?
I started pottery at 14 while in school in Manhattan. Those are key years while pursuing soccer. It was like a supporting act. Soccer was at the forefront, it dawned on me right before I went to college. I never thought I’d be studying fine art, let alone ceramic design in London. But my art teacher asked me confused: “You take my classes twice a day and convince the principal to let you stay in here three hours a day, every day. Why wouldn’t you want to study art?” He simply asked: “Just imagine your day without it and think about if that’s really what you want.”
It was a great point, so I minored in art. That pivoted to my major, always doing pottery at Kenyan in Ohio. Once I took my gap year, it all started to click. I started to teach, which I still do now at Studio Pottery London and Urban Potterz. Living so close to the studio has allowed me to experiment more in my work than if I had to commute long distances.
So when did the pivot happen full-time?
I was in denial for a while. It was frustrating because I trained so hard and got to a position where I felt like I was playing at a high level and things just didn’t align at my school. There was a keeper who was a couple years older. The studio was the safe place after training. I consider myself a designer and a storyteller than a visual artist.
I was in denial for my football career not being exactly what I wanted it to be. I didn’t really have that realization, per se, which is what has made this so incredible and seamless, because I believe my work exists just as much in the sport and football world, as the art and design world. It’s been the most rewarding thing. I’m not hanging up the boots.
My grandfather was a ceramic designer in the most literal sense in the word. He worked with companies in the Midwest to make art for homeware — digital transfers, etc. My grandmother was running the business on the backend of things.
