About the Artist and process
Surface. Surface. Surface.
In college at East Carolina University, I was told my pots were strong but boring. So, I set out to try every type of surface design I could find. Most recently I discovered water etching and added that to the list of techniques under my belt. My main, or go-to surface treatment, has always been slip trailing. I may set it aside now and then, but I always come back to it. The technique it'self resembles cake decorating with the bulb full of clay, being piped onto the damp clay surface. The resulting raised pattern on the fired pots is as much of a pleasure to touch as it is to look at.
Spin. Spin. Spin.
A majority of my work is thrown on the potters wheel with a small portion both slab formed and cast. My surfaces are inspired by vintage fabrics, quilts and wall papers as well as nature.
My pieces, no matter what method they are formed in, require a smooth surface to start. I use a variety of metal and silicone ribs to take any throwing lines out of the surface that I'll be decorating. Then the real fun starts!
Crickets. Crickets. Crickets.....BOOM!
I see every freshly thrown piece as a blank canvas and combining more than one texture of pattern is similar to quilt making or patchwork. A gardeny floral fabric print combined with the stiff pin stripe of institutional wallpaper, a crisp gingham check with a fresh Swiss dot, and patches of bright color. But with all those patterns floating around, where do you start? Paper, then sketched on clay. I'll test a pattern once, find something that I can tweak...make a second, one more change, then a third and sometimes fourth. Each pot that comes out to a gallery or museum is the final rendition. The other samples, go to seconds sales, family and friends. That pot you are holding or looking at, it was the best of the lot. I put hours of forethought and research into it and I hope you enjoy it as much as I enjoyed the process of making it.