Art Statement I hope that my work has an ethereal quality that is calming and serene. Depending on the glaze, a piece may evoke the sea or seem other-worldly. In the end, I hope that the viewer is taken away to a different place or time – if only for a moment.
Crystalline glazes are beautiful; it’s important that the pot does the glaze justice. My pieces are made on the wheel with porcelain. Ideally, the form should read like a story with a beginning, a middle, and an ending: the rim is purposeful, the body has a nice shape, and the foot makes the work look balanced and light. On the one hand, I have a very strong idea of what I want the finished work to look like and I am carefully planning each step. On the other hand, the process is random; crystals form on their own during a firing – they are not placed. Crystalline potters are very much at the mercy of the “kiln gods.”
Bio While attending Rice University, I took ceramics classes at Glassell School of Art. I was quite a serious potter during college, but stopped during graduate school (I attended the University of Texas at Austin and received a doctorate in Government).
I live in Carlsbad, California, and, over the years, I studied with various instructors at Palomar College. I eventually set up a home studio, bought books, took a deep dive into online material, and learned how to make crystalline pottery. I was also lucky to land near Freeform Clay and Supplies where Richard has taken time to provide me with technical support. He is always there when I need help.
In June 2021, I retired from my teaching position at California State University in San Marcos and so now have time to return to ceramic arts and join the art community. Because pottery is so studio intensive, it's important for me to get out of the house and away from the computer. A large art fair is not for me, my friends are important, and all of that led me to join Off Track Gallery and work with other artists in an informal way. Needless to say, I could not do it without other artists being willing to work together towards the same end.
Technical First - Yes, this is ceramics; but it is also a very complicated and specialized niche in the ceramic world. For example, each pot needs its own glaze catcher and pedestal. I fire in an electric kiln with glazes that I formulate and apply. The glaze looks like mud before firing - what happens in the kiln is random: crystals are not placed in a particular position. Professor Ian Childler's article is a great place to find out more about this process.