Every artist has their own system of working, their own rules that they follow. Some are conscious, others are unconscious. These systems and rules embody experience, skill level, interests, tastes, inspirations, aptitude and method, to name a few. This is what I have been calling the artist’s archetype, and it is as unique as a fingerprint. The artist’s archetype is never static. It is always in flux, moving from one pole to the other, following it’s own logic together with the artist’s instinct. Taking risks and pushing the materials to their limits propels work forward and is essential to the evolution of a developing system. This process is what fascinates me about art. Every piece is the evolution of an idea. Archetype, being the model from which other models are derived, is for me an appropriate way to describe the journey of a body of artistic work. The primary model which first served as inspiration, has an evolution of its own and grows to become more detailed, more elegant. Systems for understanding and exploring the origin of modes of thought are extremely interesting to me as they relate to inspiration for making work. The psychology and philosophy of making continues to intrigue me and is something always worthy of investigating. I have also found that my study of music over the course of 21 years, particularly the guitar, has widened my vision in art perception and creation. The analogy of music and art is a fascinating avenue of research for me, and has given many rewards.

I have always been interested in researching what makes me tick as a maker. I have an insatiable need to create the things my mind envisions. I like creating things that are new, as yet unseen. Clay, particularly porcelain, has been the best candidate to fulfill the needs I have as a maker. I have a strong background in drawing and painting, and the smooth white surface of bisque-ware lends itself to my need for 2d image creation, investigating the possibility of using underglazes like I would acrylic on canvas. I also have developed a love for printmaking, especially intaglio. It was love at first press! I have found the sensitivities within the process are very similar to the delicacy which must be used in porcelain practices.

As a devoted reader, I am consistently in awe of the power of language to cultivate imagination and advance understanding. It is often through stories that knowledge is acquired intuitively, made one’s own - versus that of reading a list of facts. It is by including intuitive decision making that I find satisfaction and authenticity when responding to a design I intend on making. Within the visual arts as within language, there is an implied experience of meaning that takes place between the written lines, and for each the experience differs. Through literature, language has its limits when imparting information or experience, but it has had an enormous impact on the work I make because it is a way to explore alternative realities otherwise not physically observable. It is often from fantasized worlds I imagine my work emerging from. I believe that imagined or dreamed internal realities can be as relevant as the experience waking physical reality offers, or at least strong enough to impart an equal measure of inspiration. My work is a record of how I internalize my existence. I often see my work as more of a reflection of a state of being, than a direct narrative featuring a specific attitude on some societal or global situation.

Surface is as important and relevant to my work as is the form. They act in service of one another. The transparent glazes I use highlight shallow relief decoration and sculpted elements. I often use underglaze to paint scenes from natural or constructed environments that have inspired me in some unobtrusive and quiet way. I enjoy researching different materials and how they can be used to create graphic imagery on ceramic pieces. Considering myself objectively familiar with ceramic surfacing materials, like glazes and underglazes, there is an element of the unknown that the firing process brings to the surface. This always challenges my attempts at control over the materials, and always inspires new ideas or better ways of doing things. Every piece is a test towards a more realized, more sophisticated and elegant idea.