I have found that with each successive body of work I produce, there has been a progression from functional ware that embraces utility, to what I consider to be sculptural vessels. In addition to being drawn in by the charm of the natural world, my research strongly gravitates towards architecture, and what might inspire its design. I find it comes right back around to nature. By adopting certain modes of perception, I can see terraces, windows, crenelations, doorways, domes and verandas embedded within very small sections of organic and inorganic matter. I draw these things fervently, and dress them in Roman stone, Japanese wood, or Alien metal. I transcribe these images onto my work as surface, or build them onto the forms themselves. I observe objects, environments, and buildings in the physical sense, but also observe them through literature and through digitized virtual environments. This research reveals itself in my ceramic applications through various combinations of carving, sculpting, piercing, relief, and the painted image. Exploration of this research often begins with detailed drawings that evolve into 3 dimensional work.
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 intuitive response to my work, that I find satisfaction and authenticity. Though language has its limits when imparting information or experience, 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 being from, or a part of. I believe that imagined realities can be as impactful as the experience physical reality offers, or at least strong enough to impart an equal measure of inspiration.
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 paint scenes from natural or constructed environments that have inspired me in some unobtrusive and quiet way. 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 imagery. This, in a way, challenges my attempts at control over the materials. I expect that and am intrigued by the results when I subject laborious and meticulous underglaze paintings to a white hot furnace.