As our lives involve more and more assistance from technology, I am fascinated to see the continued importance that we place on the handmade object. There is a symbolism that we attach to these objects and something we are seeking when we bring them into our everyday lives. Though aesthetics are of importance in our architecture or in the products we use, we have a special reverence for things that can not be reproduced by machine. The love of these objects, their resistance to “progress” and the humanity that they represent keep me working in clay.

Patterns and textures I see, in the order of the stones in a pavement, branches on a winter sky, or undulations of sand formed on the ocean floor are translated in my work. The images I use are emblems of hope and life and indications of the persistence of nature. A tiny bird, a seedling, or a vine can go about its quiet business in spite of human activity and the seeming improbability of its endurance. Inspirations include linoleum and woodcut prints, textile designs, architecture, and traditions in ceramic and decorative art.


My work is made from white stoneware and porcelain clay using a variety of forming techniques. These include wheel-throwing, slab-building and slip-casting. I choose strong clean forms, with soft corners and planes for experimentation with line drawing, texture and color. The surface is created by incising and carving, and brushing, stenciling, and trailing slip. Using a variety of glaze and underglaze materials, I can vary the line quality. By applying the glazes to selected areas with a brush, some areas can be shiny, while others remain softly matte. All pieces are oxidation-fired to cone 6.