I use only the most rudimentary handbuilding techniques to create my forms. While in graduate school, I began experimenting with clay from a local brick manufacturer (Endicott Clay Products, Fairbury, NE). Their “potting clay” had great working characteristics–plasticity, density, and a rich terra cotta color. It also had the benefit of not being over-processed. With a few minor alterations, the basic clay that was sent down the conveyor belt to make bricks became the backbone of my claybody.

I strive to capture the aesthetics of vessels and other objects that are painstakingly carved out of solid materials such as stone or wood.  I find that working in a reductive manner allows me to find the form more intuitively.  Although this way of working is impractical at times, it highlights the unrefined qualities of the clay.

Often, we strive for perfection in our culture; flaws are generally not perceived as beautiful. I embrace irregularities as a part of the character of my work. They are not covered up; but become an integral part of the whole.  I developed a series of slips, terra sigillata, and glazes to compliment the texture created during the forming process. I use a muted color palette to create subtle, weathered surfaces to suggest a history of use.