I came to ceramics later in life when I moved from Boston to Salt Lake City in 2013.  My work is hand-built, and I use a somewhat limited palette of matte glazes, saggar finishes and Japanese shinos in high reduction.  Frustrated by the wheel when I was younger, I tried making pottery a few times and stopped.  A focus on sculptural forms and wood-fired pots as an art student at Goddard College in the 1970s planted a seed that germinated many years later.

The landscape in the Northeast and Southwest are ongoing themes, and I find the music I listen to in the studio a powerful inspiration.  I love the green of Massachusetts and Pennsylvania, the red, gray and black mesas and night skies of New Mexico, pots that croon and sway and shapes that mimic desert and ocean forms.

I enjoy making functional pots like tea bowls and vases, but my primary focus over the past year has been low-fired sculptural work, vessels and wall reliefs that reference poetry, art history and cultural narratives.  I'm experimenting with vessels in pairs and varying firing temperatures and container material in the saggar-fired work.  Firing cracks and breaks in wall pieces are incorporated into the final sculptures, sometimes fused or framed with steel.  Brokenness and its repair, like a cleaved rock, has become a theme in the work.