I attended the University of Minnesota in Minneapolis to complete my Masters of Fine Arts in 2004. Since graduation, I have lived and worked in Bakersville, North Carolina with my husband and glass artist, Scott Summerfield.  We share a large outbuilding that houses each of our studios and a showroom for our work.

I have been an instructor and visiting artist at numerous clay facilities, colleges, and universities. I exhibit and sell my work nationally through exhibitions, fine craft shows, our home gallery, and my online shop.

I have been featured and on the cover of Ceramics Monthly and Clay Times magazine. I have also authored and been included in a variety of ceramic publications. I recently released two instructional online hand building courses available to anyone interested in distance learning.

In 2020, Liz and Scott founded Double Island Studio, a communal space devoted to art making, teaching, and learning.

 “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.