Clay fascinates me. I've had the luxury to try many different forms and approaches, to work towards perfecting an aesthetic ideal to suit myself before branching off towards a new ceramics goal. Sometimes I'm working on forms, sometimes textures or images, sometimes on glaze and firing finishes. I explore how my current aesthetic goal fits within and expands the range of my previous work. I always feel as if I'm heading towards a goal instead of feeling stuck doing what I've done too many times before.
I tend to like to start with a simple form then develop details to complete the piece. I focus on making sure I add a foot that lifts, a rim that will feel good to the hand and lips, and a weight that is appropriate for the piece. How does it all balance? How will it feel to hold it and use it? What surface? What glaze? These are all considerations that I put to my work as I bring it along to completion. When the pieces come out of the final firing, I'm using those results to chart my direction for the next batch in the studio.
One of my favorite forms is the cup. I have spent many years considering my work in the context of the larger ceramic dialogue, being drawn from contemporary tumbler to the more complex and elusive yunomi aesthetic. I don't want to simply recreate what others have already attained. I am trying to find my voice, my perspective in the conversation.
While I always work towards control, I am fascinated by the uncertainties and nuances of gas, soda and especially wood fired kilns. I feel that good (even exceptional) results from atmospheric firings are the way in which my craft gives directly back to me. When I chase an ephemeral result and duplicate it, it becomes an exciting treasure hunt.