I started making pottery, about 25 years ago and took a leave of 15 years because I had expressed everything I wanted to say in clay. I devoted time to pen and ink drawings and making prints. Six years ago I was introduced to Raku firing, fell in love with it, and for a period of four years avidly worked sculpting in clay. I combined the coil, pinching, and the stone and wooden slab methods to build my pots; I used the wheel only for glaze testing. My designs were inspired by symbols, pottery and jewelry of the past. I hand polished the stones I build into my pots and incorporated textiles and small individually fired pieces to my work.Besides the enjoyment I got from creating designs in pottery, the main purpose of my work was to communicate some of my feelings and thought processes. I used the symbols for life, the elements, eternity, alchemy and other arcane concepts because they are fascinating ideas that I needed to express in clay. I sold my pieces only when I accumulated so many I could not comfortably get around my workshop. Otherwise, I kept and studied them for other ideas or improvements on their design.  Working with clay was a most rewarding and meditative process. I am grateful for the opportunity to work at a home studio in most pleasant and quiet surroundings with people and creations I love. In the year 2000 I undertook the enjoyable task of hand painting silk yardage for designers and creating whimsical spirit dolls. The latter was an effort to combine my clay sculpting skills with the silk material created by me. In 2002 my interest in the human form led me to Lifecasting, an exciting branch of sculpture. Although the technique I use makes an accurate impression of the human body it offers countless possibilities for the manipulation of form. I have done extensive research, cast many molds, and experimented with paints and finishes. 
 |