My process and intentions:

My college work led to an MFA in sculpture.  I bought into the basic beliefs of Abstract Expressionism, and that movement provided most of my vocabulary.  However, my sculpture derived from the work of Brancusi and Moore more than any AbEx sculptors (a club with very few members indeed!).

Clay has worked well for me in part because it is so good at recording the moment (and so discouraging of reworking “the moment”).  My firing process – wood, plus oil, plus a little salt – is intended to make the pots as visible as possible without covering up what happened during the making, and finally, what the pot endured in the kiln.

I believe that shape is a potent vehicle for embodying truths that are not easily articulated any other way.  My job is to get the shapes right.  I have to hope that once in a while a shape connects with somebody.  It’s not simple and, I would guess, rarely a quick read, but people who have my pots for a time often tell me how important they have become for them.  That’s what it’s all about.