I have been a ceramic artist for over 20 years. Over time my artistic vision has continually evolved. My journey from a functional and utilitarian ceramicist to an artist using clay as a medium to create dramatic forms and sculptures is ongoing. I’ve been exploring the fullness of time and infinite space in my work resulting in spirals that resonate with the Fibonacci sequences found in nature. Even my functional work is altered and textured in some way, adding layers and complexity to each piece. I use a high-fired iron-bearing stoneware that is reduction fired to cone 10 in my gas kiln. My glazes are a combination of a honey matte base glaze with a blue texture and a sea foam green rutile overspray which evokes both the NC mountains and the coast.
I mix all of my glazes by hand and ensure they are food safe. Some of the sculptural pieces have layers of oxides, stains and slips to achieve a depth of color. My large pieces are thrown on the wheel in sections and are then stacked and thrown to compress the seams to create large vessels. Handles are hand-built sculptural elements that create an intriguing focal point. I am exploring the marriage of function and sculpture in my work. I lived in Japan at the Shigaraki Ceramic Institute for 8 months and was inspired by the California Funk Artists who studied with Robert Arneson in the 60s and 70s. They encouraged me to expand into sculpture and their style and technique informs much of how I approach my work today. In the studio I practice mindfulness; my work is slow and intentional with an attention to detail. I make many of my own stamps and spend my time adding layers of texture to hand-built forms.
Recently I have been exploring other-worldly hand-built flowers on thrown pedestal stems, inverted pyramids built into vessels, hourglass sculptures and heavily textured wall hangings with the heavens and stars carved and stamped in layers, and sculpted woodland creatures. I aspire to add fantasy and wonder to the mundane object.