Christopher’s forms and symbols are created using his signature technique of applied ridges that are then scraped to a sharp, triangular profile. Theses bold, deeply gouged lines create a strikingly graphic effect.

The imagery the artist explores are drawn from his personal experiences, including his childhood in Atlanta. Among his lexicon of symbols, leaves represent life, growth and celebration, while flames reference phoenix-like rebirth. With each new series, more symbolic elements are added to Christopher’s repertoire.

His monumental 'head' vases and planters are based on the Southern tradition of the "face jug". Originating in Black slave culture in the mid-1800's, largely in South Carolina and Georgia, by the late 19th century the style had been appropriated by white ceramicists as well. As anthropologist and author Robert Hunter states "no other category of American ceramics blurs the social and cultural boundaries between white and black like the face jug". In a historically charged new era of cultural reckoning, Christopher embraces a motif with complex references to culture and identity to celebrate change.