I was interested in the play of the actual object, which is three dimensional as opposed to the visual imagery, which is merely two-dimensional. One format my work takes is that of the tondo, or round relief, often found in Italian Renaissance architecture. This presents a flat surface on which to develop the still life imagery. The other format I use is that of the box. The notion of container is very important for the still life objects that are precariously balanced on the top of the box.
Boxes bring to mind the preciousness of that what is within.
All the work is made of earthenware clay, which has a high iron content, which gives it a red color. I use a unique slab handbuilding technique that utilizes tarpaper, or roofing felt, for support. The surface is lowfire underglazes and glazes as well as terra sigilatta, a refined slip, with stains added for color. I sometimes incorporate the slip techniques of mishima, an inlaid slip, or scrafitto, scratching through the slip to the clay surface. The pieces are fired in an electric kiln to about 1800 degrees Fahrenheit.