My current work focuses on large, wheel thrown, lidded jars and storage vessels made with high iron clays that fire to a range of rich grays and browns. These vessels have expansive exterior surfaces which I use to explore the relationships between volume, texture and glaze. I choose to use glazes, especially ash glazes, that break or flow across the textured surfaces of my pots and highlight these relationships.
I am attracted to traditional Korean unglazed stoneware and porcelain and to the unglazed stoneware from the Shigaraki and Wizen ancient kiln sites in Japan. Fired with wood, these vessels flashed to record the turbulent atmosphere inside of the kiln. Atmospheric firing is transformative and the surfaces that result are unpredictable and often incredibly beautiful. In my own work, I use soda and wood atmospheric firings to achieve this transformation. The firing process contributes additional laters of variability to my surfaces with the intention of making them increasingly complex.
As a child, I was fascinated by objects discovered in archeological digs. These artifacts always seemed to include storage vessels, covered jars, boxes, bottles and jugs. Traditionally used for the storage of food and drink, these forms were once vital tools for sustaining life and, to me, they represent life and its many secrets. Life is mysterious and my processes and the resulting objects serve as a mirror. As a potter, I manipulate materials. I plan and control. Inside the kiln, control is marginalized by forces that are largely unseen. When the kiln has cooled, these objects can be discovered. The results are often dramatic and wildly unexpected. My goal is to create beautiful pots that arise through this process.