Challenging the medium of clay to produce my vision, I create works in ways that are interesting but not necessarily according to the rules. Experimenting with combinations of hand-building along side of conventional and unconventional throwing processes lets me construct unique forms. Then using different techniques of adding glazes and other finishes in various ways, I sponge, paint, dip, and wipe to produce unusual surfaces. This process creates great variability, or unpredictability, in the final outcome. The firing processes of raku and wood-firing are particularly favorite methods of mine, as they add even more variables: fire, smoke and ash. I am always surprised, often in a good way. Please enjoy my serendipity with me!

I have been working in ceramics since 2004, starting as a try at an "old tech" release from high-tech stress, and rapidly become a passion. As a member of an area pottery cooperative, I take every opportunity to play in the mud and exercise my artistic range, trying new concepts, tools, materials and processes - but also hone skills in favorite techniques I find most fulfilling. As an example, my Orb series are pots formed by a distinctive "throwing without water" technique. Starting as a basic concept learned from another potter, I have expanded and adjusted that original process into the unique method I use today. I continue to explore new directions which to take it. Clay is an endless road to discovery.

Wood firing of pottery is one of the most ancient and original methods of turning raw earth into durable wares. Originally practiced in caves in the hillside, natural or man-carved, as is still done today in some places, or in more 'modern' constructions of brick and cement, the basic elements remain unchanged for millennia. Pottery is stacked in the middle of the kiln. A raging wood fire is stoked at one end and exhausted out the other end. Over many hours to several days, the fires are fed and the heat of the kiln builds up to 2400ºF or more. The flame and ash passes through the kiln, licking the pots, depositing and melting the ash to the glowing clay and leaving traces of its passage. Although glazes of many hues and finishes can be used to decorate pots, some of the most spectacular results can be the pure raw nature of fire and earth. Allowed to rest and cool for many days, the kiln is broken open to reveal the new treasures hidden inside. The will of kiln and the whim of the flame give truly one of a kind results.