Artist Statement

This work reflects my long relationship with clay and the many directions that I have pursued, enriching my life in ways that I never could have predicted at the outset. Clay is a vehicle of engagement with the social, physical, intellectual and creative worlds. The work here represents some of my work over four decades. I am endlessly fascinated by the possibilities and frequently unpredictable results. The exploration of this intersection of intent and chance drives my work. It is perhaps ironic that this soft malleable material provides a concrete basis from which to view and experience the world

For many years, I created functional pieces: mugs, dishes, platters, vases on the potter’s wheel and by hand building. Along the way, I studied different methods of firing the work. Electric kiln, gas kiln, wood kiln. Each creates a different atmosphere that affects the clay and glazes in a unique way. And different temperatures, mostly mid fire (2100F) and high fire(2300F). Again, creating different results for each firing. I decided that I needed to know more about glaze formulation and began studying with Ian Currie of Australia who developed a marvelous way to understand glazes and wrote two books about it.

Then I moved to Europe. I was curious about paper clay and thought It could solve some problems with porcelain construction. I found a workshop with in Italy with Giovanni Ciamatti. Going there was the beginning of a huge change in my approach to clay. I learned how to use porcelain paper clay slip in single use cardboard molds. This workshop was the beginning of a years long struggle to master the technique once I returned to to the US.

Finally, I can say that the pieces mostly make it through the firings. One teacher told us to we need to learn to like the work we make, not try to make the work we like. Through seeing and listening carefully to the pieces as they come from the kiln, a new aesthetic has emerged in my work that is a gestalt of choices, decisions, intent and energy.