There are many ways to approach art making with clay. I adhere to traditional ceramic traditions in making sculptural vessels and works for the wall. The study of early 20th-century architecture and design of international modernists contribute to my attitude about form. European ceramists Gertrude and Otto Natzler, Lucie Rie and Hans Coper were my earliest influences.
I embrace a modernist aesthetic and employ a reductive approach to formal composition. I admire artists Sol Le Witt and Agnes Martin for their freedom within restraint and Richard Serra and Martin Puryear for expression of both soft and rigid aspects of the materials in their respective understated majestic sculptures.
The essence of my work is considered minimal form activated by its surface treatment. I aim to eliminate unnecessary details to arrive at an articulate vessel form, one that could work at any scale, and allows for texture and color to become integrated within.
I live part-time in the city and part-time in the country. Nature and its innate perfect design inform in my work where ever I am. The urban landscape gives me endless design direction with its idiosyncratic beauty in both decay and new architecture.
Abstract painting with bold texture and complex color inform my surface treatments as I translate them to fired ceramic. Albers rich muted palette, that of Mark Rothko and works of various contemporary painters, among them Robert Kushner, Suzan Frecon, and Callum Innes, find their way into my work.
I value my relationship with the materials and aim for a balance between restraint and spontaneity in both form and surface. As my craftsmanship skill increases my desire to control the process lessens. Control versus chance now plays a larger role in my work as I to surrender to the process and allow the clay to speak more freely.
There are many ways to approach art making with clay. I follow a reductive modernist format in concept and adhere to traditional ceramic traditions in making vessels and works for the wall. There are four elements running through my work: formal composition, abstraction, minimalism and attention to the natural world.
My practice is notably "old school". Tied to the ancient vessel tradition of containment my vessels are not specifically intended for use or to be vehicles for social or political comment. In their making, their own story with clues to place and time in the natural world are embedded as it is with their ceramic ancestors.