Sometimes I dream of shaping clay. I think about how people — perhaps thousands of years ago — used fired clay for activities ordinary to them, like eating, cooking, and storing. But pottery was also commemorative, representing some event, person or idea meaningful to their lives that they wanted to share and remember.
Pottery links the shaper, users, and admirers together, forming a community that is intrinsically human. Each pot reflects the textures, shapes, colors and forms that influence the potter and conveys these choices to others. I love that.
Working in clay presents infinite possibilities. Almost anything can be made from clay. The limitations are of desire, energy, interest and skill of the potter. No matter what I learn or create there is more to explore. Different clays ranging from dark grog to pristine porcelain; various methods of construction including wheel thrown, altered and hand built; glazing of all kinds; and wildly different types of firings add to the endless possibilities.
a bit about my process
I handbuild my stamped and textured forms with white stoneware and porcelain. The vessels reflect a contemporary, minimalist sensibility. I favor stains to highlight the texture in my vessels, and eschew glazes that overpower the form and its surface. I use glazes on the interior for contrast and functionality. My forms range from the functional to architecturally complex decorative vessels.