What has kept me captivated from the time of my introduction to clay in 1962 at the University of Michigan are the properties and endless potential of clay, a fascination with clay forming processes, and the marvel of the transformation by fire of earthy clay and glaze components.
Most of my work is functional. It is made to be used.
Some, like frogs and salamanders perched on ceramic rocks, are whimsical. Others, like large vases and fountains are sculptural pieces designed to enhance a garden. But all are made to provide pleasure and satisfaction to the extent that they serve their intended purpose well, honestly reflect the forming and firing process, are a good marriage of form and function, and have aesthetic appeal.
My MFA Thesis Project explored combining west coast cedar and clay.
Today's fountains reflect that interest. They are made from salvaged red and yellow cedar utility poles, thrown and altered clay parts, sisal rope, and assorted found and off-the-shelf items, all assembled with power tools and chain saw.