The Geometrics
The geometric series emerged in the early 1990s as an exploration of form and divided form. Assembled, the separate parts create a whole; divided, they can be arranged in varying and evocative relationships.
In some I have created at the center a sphere, a heart within the form, which can be seen as the connecting and energizing force.
These pieces are built from stoneware slabs; they are hollow rather than solid forms. They are low-fired, either in a sagger within my gas kiln or in a raku kiln. Surface color comes from various oxides, organic matter surrounding the piece, or splashes of glaze in the case of raku.
The Torsos
The endless variety in the human form has inspired the torso as a recurring theme. I am interested in the archaic and timeless qualities of the clay figure, as well as its organic nature. The process of building them is slow and experiential. Adding small bits of soft clay allows the form to evolve, as a living being. The focus is on gesture, in either stasis or movement. For the stoneware figures I select a gritty clay, which gives an energetic surface, allowing my fingerprints to show clearly. Surface, as clothing, is important, often built up with successive layers of oxides such as iron and manganese, then glazed and scraped or sponged to express an inner and lively depth.
I want the torsos to look as though they have lived a long time, to reflect the earth, wind and fire of that life.
The Torsos
The endless variety in the human form has inspired the torso as a recurring theme. I am interested in the archaic and timeless qualities of the clay figure, as well as its organic nature. The process of building them is slow and experiential. Adding small bits of soft clay allows the form to evolve, as a living being. The focus is on gesture, in either stasis or movement. For the stoneware figures I select a gritty clay, which gives an energetic surface, allowing my fingerprints to show clearly. Surface, as clothing, is important, often built up with successive layers of oxides such as iron and manganese, then glazed and scraped or sponged to express an inner and lively depth.
I want the torsos to look as though they have lived a long time, to reflect the earth, wind and fire of that life.
The Torsos
The endless variety in the human form has inspired the torso as a recurring theme. I am interested in the archaic and timeless qualities of the clay figure, as well as its organic nature. The process of building them is slow and experiential. Adding small bits of soft clay allows the form to evolve, as a living being. The focus is on gesture, in either stasis or movement. For the stoneware figures I select a gritty clay, which gives an energetic surface, allowing my fingerprints to show clearly. Surface, as clothing, is important, often built up with successive layers of oxides such as iron and manganese, then glazed and scraped or sponged to express an inner and lively depth.
I want the torsos to look as though they have lived a long time, to reflect the earth, wind and fire of that life.
The Torsos
The endless variety in the human form has inspired the torso as a recurring theme. I am interested in the archaic and timeless qualities of the clay figure, as well as its organic nature. The process of building them is slow and experiential. Adding small bits of soft clay allows the form to evolve, as a living being. The focus is on gesture, in either stasis or movement. For the stoneware figures I select a gritty clay, which gives an energetic surface, allowing my fingerprints to show clearly. Surface, as clothing, is important, often built up with successive layers of oxides such as iron and manganese, then glazed and scraped or sponged to express an inner and lively depth.
I want the torsos to look as though they have lived a long time, to reflect the earth, wind and fire of that life.
Functional Work
Because of my focus on form as primary in my work with clay I consider my functional pieces as sculptural too. I draw upon the rich traditions of China, Japan, the pre-Columbian world of the Americas.
The studio world encourages exploration, in all aspects of a potter's work. The form can be a classic form, or it can be altered. Surface can be calm and smooth, or it can be tooled in a variety of ways. A vase can have lugs affixed to its shoulder. The rim of a bowl can have bears walking around it. A cup can have a bear for a handle. Throughout the process I am thinking “How will this be used?” There are other questions. Do I wish to add an element of whimsy? Or is this a serious piece?
Over many years I have developed a vocabulary of glazes which is very personal. These, which I mix myself, include celadon, ash, shino, oribe. Mostly I fire in my own gas or electric kilns. But I also enjoy the opportunity to fire in alternative ways: pit, raku and recently, especially, wood. Each firing process will give a very specific and different result.
The Leg Series
The Leg Series was a natural evolutionary step from the figures, which I had been making for many years. They were an attempt to elevate the legs as symbolic of man standing erect and taking steps in a bi-pedal way. They were inspired by my study of man through the Leakey Foundation from an artist standpoint and by the large sculptures of Steven Destabler.
The early leg pieces were constructed with a base, a small plaque, the legs rising up, sometimes attached at the top with a pelvis. They were followed by a leg series on pedestals. The most recent ones had a not only a pedestal, but a backdrop, which added a theatrical and whimsical element, highlighting the legs.
The challenge of these pieces is that they are spontaneous built from little bits of clay added to create the rising form. They are prone to collapse. They are extremely fragile and in the firing process, they can tip over. They require extremely careful handling throughout the process.
