I create wheel-thrown & hand-built utilitarian ceramics in small batches using stoneware and porcelain mid-fired in an electric kiln. Rooted in the belief that more is not necessarily better, I produce work that embraces simplicity and minimalism a reminder to slow down and pause with intention. My final glaze results often incorporate a glazed line; a nod to my art school background where my concentration was in drawing and a reference to the philosophical belief that drawing is the foundation of all art disciplines. For me, the line represents both a starting point as well as a continuance; everything begins and remains in existence in one form or another.
I have been a potter for over twenty-five years and prior to studying ceramics I earned an undergraduate degree in sculpture. I believe this has led me to make the pots I make. The shape of the pot comes first for me rather than the function. My work is burnished with a smooth stone to seal the porcelain surface. The polished pots are then fired in a clay container or saggar with wood, salt, and copper carbonate. I have also been influenced by ceramic art history and the surface treatment of my pots is derived for early Greek and Roman pots of the 4th and 5th century BC, as well as Native American pottery of the southwest, both cultures employed the technique of burnishing the surface of the pottery and firing the work with wood as a source of fuel rather than the use of a glaze. The shapes of my pots are drawn from nature as well as the human form. The small openings of each porcelain vessel is an acknowledgement to Native American "Seed Pots.”
The combination of the graphic surface with a 3-dimensional form is what I am exploring in my ceramic work. The natural world found in and near the waters of the Chesapeake Bay are the images that I incorporate. Rockfish, sandpipers, jellyfish, terrapins and more might populate the surface of my forms. It is the natural world that I am most familiar with and one that I love. My forms use a porcelain clay body and are either thrown or hand-built. I carve the basic design on leather-hard clay before coating with a black terra sigillata. After burnishing I use a sgraffito technique, carving away the black slip to reveal the drawing. After a bisque firing they are fired to cone 6 oxidation.