My hand built, hand painted pieces contrast the rawness of the earthenware with a “canvas” of 5-6 coatings of white slip, on which botanical patterns, forest scenes and abstract designs are applied using underglazes.

They are “framed” by the raw clay, like a painting or looking through a window. The intricate process of building and decorating requires precise timing and much patience. The raw pieces are completed over several days to a week. First, when at the perfect leather hard state, the slabs are cut, scored and seamed with slip to form the desired shape. Coated with multiple layers of white slip, they dry some more before getting further refined. Underglazes and wax resist are painted on, sometimes before the bisque firing and sometimes after. Finally, a variety of clear glazes and stains are applied before they go into the glaze firing.

Clay challenges me by being essentially mud. It is simultaneously very forgiving and extremely unforgiving. I respect its natural properties and yet, bend, poke, embellish and paint, hoping the result matches my inner vision. It is the element of surprise that awaits every kiln opening that thrills me. If it doesn’t always turn out perfectly, if there is a warp here or there, an uneven edge, or the colors are not what I expect, that is quite alright.

Perfection is not what I strive for, joy in the process is.