My work is a convergence of classic forms and forms borrowed from plants, animals, and other natural elements. The designs start as sketches made outdoors, in museums, and from my imagination. As they emerge, I want to honor the artisans whose work I admire, but I also want to capture details that I find outdoors. A wading heron offers a distinct mix of curves and lines, movement, and tension. The ordered utility of acorn woodpeckers' granary trees fascinates me, as do flowers viewed at magnification. Rough pods on buckeye trees release smooth, chocolate-brown seeds that are themselves vessels holding future trees.
Formed through wheel-throwing, coiling, and handbuilding, my pieces often include clays that I dig myself and use as slips. I love the process of digging, refining, and brushing on these clays, each with its own distinct color and response to firing. A permanent display of work using local clay is at Stanford's Jasper Ridge Biological Preserve.
There is great satisfaction in holding a finished piece that is useful and pleasing, but what I like best about working with clay is the link it forms between the ground, my hands, and the artistic impulse that led me to the wheel in the first place.