On some forms I choose to pour glaze to mimic the gesture of the slip. On other forms I arrange glaze with controlled marks to punctuate the composition. The work is fired in a soda kiln. When the soda dampens the surface, the slip warms up and layering is revealed. The relationship between the form, the firing, and my hand is complete.
Simplicity is the key.
My work is built on consideration. There is no shock, no glitz, and no glamour. There is a subtle balance of geometry in form, a comparison of symmetry and asymmetry in decoration, and a warm serene surface. Softly, the work asks for the viewer's attention. Each piece is ready for a conversation and willing to be part of a greater surrounding.