I employ the same traditional ceramic handbuilding techniques as functional potters, but instead of making platters and bowls, I make representational expressionist sculptures of familiar subjects.
The foundations of my artwork stem from my background in illustration, portraiture, architecture and display installation, although my academic training focused on clay sculpture and abstract painting. The combination of all of these artistic disciplines has culminated in elegant ceramic sculptures that coordinate easily with modern architectural designs.
I generally choose my subjects from my immediate living environment; subjects of simple beauty and underappreciated elegance in everyday life. I sometimes use natural volumes as well, boulder shapes and twisted slabs that one might find duing a walk in the woods.
Using these forms as a foundation, I exaggerated, refine, transpose the forms until I create a sense of motion, balance and potential energy, animating all the subjects to a simultaneous coexistece of contentment and beauty, with motion or potental motion. The implied energy is tempered with thoughtful restraint. Where the teapots undulate with sinuous twists (They derive their titles form the names of belly dancers.), Tthe horses seem to climb, graze and gaze peacefully The Buddhas appear almost active in purposeful meditation. The spheres series could easily illustrate a childrens book whose protagonists are little lost planets in other-worldly landscapes.
After sculpting the basic sculptural shapes (which are created following sketches), I cover all or part of the sculpture with clay swirls, lines, hills and crevices. These marks enliven the surface. I use these "maker's marks" to reinforce the knowledge that these are handmade clay objects and to infuse the surface with expressionist strokes. I treat the surface of the sculpture the way a painter treats a canvas.