Of all clays, porcelain is my choice.  Porcelain requires a different approach from other clays.  The necessity of purity of form, the intensity of color, and at times the translucence is most evident with this clay.

My pots are made on the potter’s wheel, glazed with my own glazes and fired in a reduction atmosphere to approximately 2300 degrees in a thirty cubic foot catenary arch kiln that I built.  Firing influences color:  a kiln atmosphere in which oxygen is reduced and more carbon is produced will result in the copper reds and celadons that often are...

Of all clays, porcelain is my choice.  Porcelain requires a different approach from other clays.  The necessity of purity of form, the intensity of color, and at times the translucence is most evident with this clay.

My pots are made on the potter’s wheel, glazed with my own glazes and fired in a reduction atmosphere to approximately 2300 degrees in a thirty cubic foot catenary arch kiln that I built.  Firing influences color:  a kiln atmosphere in which oxygen is reduced and more carbon is produced will result in the copper reds and celadons that often are evident in my work.

My landscape designs began during a Penland workshop as I watched the sunrise over the mountains.  Potters are always being inspired by nature, possibly because clay and minerals are such elemental materials and the basis of our craft.  Herbert Read, the British art critic, best states my feeling about my art: “The art of pottery is of all arts the one that fuses together in indestructible unity earth and heaven, and matter and spirit.”

Enjoy!