As a studio potter, my focus is on the relationship between handmade functional objects and their effect on everyday life. Cast bronze and iron objects play a major role in the inspiration for my work. The most important factor in the making of my art is my personal satisfaction with my process and the result of that process. I am truly driven by my belief that a beautiful functional object can transform otherwise routine activities into moments of quiet reflection. The processes I use are throwing, turning, and slip trailing. I consider myself neither artist or craftsman. I am a potter, when I am not busy doing dozens of other things which foster that talent. I feel a deep sense of fulfillment creating work that is enjoyed by others.

I am inspired by historic cast metal, and ceramic objects used for preparing and serving like the teapot, zun and ding. I strive to recreate the visual power and presence of these items through deliberate attention to form and surface. I have developed my surface textures by combining my experience on the lathe, and a decorative protrusion commonly seen on zhong. In my tableware this is expressed through slightly rigid forms which are broken up by sections of recessed and raised texture. For instance, my cups are cylinders with a tight foot, flared lip, and alternating sections of chattering texture and slip trailed dots separated by bands. 

My process while time consuming is an integral part of my work. My pottery is thrown on the potter’s wheel with added textures applied at various stages during the finishing process. I throw intentionally thick to allow me to carve deep bands, and chattered texture for a variation in visual contrast. Creating the piece in this fashion also allows me to create well-defined foot as I trim each piece. After each pot is trimmed, altered and attachments are added I apply three layers of slip one on top of the other in rows of dots in sections. This slip is made from the trimmings of past pieces, mixed with a specific amount of water, screened and applied with the smallest slip trailing tip available to create a raised texture which is pleasant to the touch when held.

I continue to search for a glaze and firing method that will enhance the overall form and surface texture of my work. The kiln is where I am able to relinquish the control I have over my work to the process and allow it to be transformed into the finished piece.