Clays are naturally occuring minerals formed in nature. Clays exhibit plasticity when mixed with water in certain proportions. When dry, clay becomes firm and when fired in a kiln, permanent physical and chemical reactions occur. These reactions, among other changes, cause the clay to be converted into a ceramic material. Because of these properties, clay is used for making pottery items, both utilitarian and decorative. Different types of clay, when used with different minerals and firing conditions, are used to produce earthenware, stoneware and porcelain.
Experimentation with texture, slips, glazes and bare clay bodies in atmospheric firings, have led my work to a land where they are functional and mischievous, serious and giggling, straight faced and winking all at the same time. My Pottery exists to serve the users needs while adding a spark of the unusual to their day.
I think of my work in clay as drawings with a function. My ceramic forms are simple, and serve as ground for the fun part: sgraffito. My designs are inspired by nature, and my renderings of classic motifs like leaves, flowers and birds, are stylized and almost cartoon-like.
I love the beauty and functionality of stoneware. In addition to its sturdiness, it is perfect for embellishment. The shapes and colors of my pottery echo what I see in the gardens and woods around my home.
In creating art my goal is to move the viewer and/or user of my work. I intend to abstractly evoke emotions of peace, monumentality, and beauty with my work. I want my work to possess an inspirational presence. I am attempting to mimic the emotions triggered in me by my sources of inspiration. My muses reside in nature, old New England mills, and art, and I immerse myself in as much as possible.
As an artist, I see myself as an alchemist or shaman, manifesting new forms with my hands from earth, water and fire. I use magical and sacred symbols to adorn my work representing transcendence to the sacred and the invocation of deeper meaning in all things around us.
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.
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Frog Hollow Vermont State Craft Center, 85 Church Street, Burlington, VT 05401
phone (802) 863-6458 fax (802) 863-6506
This website was partially funded with grants from
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