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 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.
The Triangles
I begin with a template of folded paper, in the form of a triangle with a flattened base. I refold and cut until the angles are right. The vessel must rise, but be grounded as well. Using the template I cut fresh slabs of red clay to size. Set out on the work table they are beautiful in themselves. I hesitate to touch them further. But I do. I comb them with a metal tool. It is like a caress. That is enough for the first day. The slabs have to rest, to firm up.
Day two, construction begins. I bevel the edges to be joined, then score them with a needle, paint them with slip, then very carefully lift each slab, wishing I had three hands instead of two, propping one slab up against my chest while juggling the other two. I coax them together, gently, until they form a tent of clay, even, balanced, pressing the edges together to seal the seams. I take a deep breath. I look and look to make sure that all is holding and that it is even. It is a critical time for correcting any imbalance. Now I can add the base and make sure the piece is level.
Day four, I begin to build, first one tier then another, angling out or in successively.
Day five, I seem to approach resolution. It is beginning to have a life. Maybe it is done. There is much looking to do, correcting, tooling. There comes a moment when I am sure it is complete. I cover the piece with dampened cloth sheets, then several layers of plastic. It must dry slowly so that all the parts knit together, no one part drying more slowly than the other. After about a month it is ready for firing in my gas kiln. The reduction firing gives the clay a toasty color.
With a focus on harmony and balance these vessels are formal and architectural in nature.
Day three, I must turn the piece rightside up. It is a delicate procedure. I must be careful not to lose the balance I achieved. I hug the piece and gently set it upright. If there are ribs to be added along the seams now is the time to do it. I roll out fresh slabs in long sheets for the upper tiers. They need to dry overnight before they can be added. The drying of all the parts is very important.