I like the idea of capturing a specific moment in time by freezing the flame mark with water. It is really tricky to freeze at the right moment. If the pot is too hot it cracks. If the pot is too cool the glaze looks boring. If it's just the right temperature the glaze effect can be magical. It is this magic that keeps me searching…
My pots are handbuilt, pinching up each layer of rolled coil to build form. Pinching is a slow, rhythmic process that allows time to envision a piece while working, and the resulting texture is intrinsic to the building process. I approach the surface of a pot as a painter, brushing colored slips over the raw terracotta surface, layering multiple glazes after bisquing. I aim for the speed, the pulse, and the tempo of making to be revealed in the pot.
I still find the process of throwing the most enjoyable part of my work.
Observing weathered architecture, be it urban row house or country barn, I strive to sculpt exciting and poignant examples of buildings that are three-dimensionally compelling and subtly narrative.
I was electrified by the Minoan and other early ceramics. That thrilling dynamic of the fullness of form enriched by culturally significant decoration became my own measure. The enduring satisfaction that I find in my vigorous design inventions is firmly connected to the idea that I am augmenting this body of work, this eternal concern, with the freshness of my particular experience and cultural background.
All I know is that in tenth grade I took a pottery class and felt a long yearning inside of me released. Pottery was not going to be a pastime - it was to be a profession. Most of my inspiration comes from nature; I have always been fascinated with how plants grow, and the shapes they become, the flowers and fruits they bear.
My current work has been influenced by my fascination with Etruscan art. Their civilization prospered between 950-300 B.C. in northwestern Italy. As I have learned more about the Etruscans my thoughts have turned inward, contemplating societal and personal rituals. What are my own rituals? My own symbols? And, how can I express and explore this sacredness in my own work?
My pots are like my children with their needs and wants. After giving them my love and care, they must go out into the world on their own. They should be proud, speak for themselves, be useful, and most importantly, be loved.
My creative inspiration comes from an interest in Mediterranean Pottery, the tiles of the Middle East and North Africa, and Japanese Ink Painting with its simple, yet elegant brushwork. Travel is a great inspiration for me and adds immensely to my designs and life as an artist.