I came to ceramics late, both in life and as an artist. As a ‘non-traditional’ undergraduate painting major I transferred to ceramics in the middle of my junior year. Coming into the department during the middle of the semester meant starting with George Timock’s mold-making class. It appealed to my analytical side and provided an intellectual access to the new material that immediately related to previous two-dimensional processes – serial printmaking and collage. I never recovered from that initial encounter with plaster and moldmaking continues to be an integral part of my ceramic process. Throwing on the wheel, however, was quite a struggle, but with a fortitude more stubborn than determined, I eventually reached a level of competency that allowed me to combine molds and wheel-thrown vessels.

With very few exceptions, all of the work is made up of various parts that are assembled.

In the case of the the slip-cast work, all the components are produced by pouring liquid clay (slip) into plaster molds. The resulting components are then assembled by using slip as ‘glue’. The joints and mold lines are painstakingly cleaned, and the pieces are bisqued, glazed and refired.

The wheel-based work consists of a thrown component decorated with ‘sprigs’ formed in press molds. Often the same molds used for slip-casting are also used as press molds using plastic clay of the same body as the vessel.

While at one time or another I have fired the full range of standard ceramic temperatures in a wide variety of kilns, the overwhelming majority of my work is fired to pyrometric cone 10 in reduction.

ADDITIONAL DETAILS REGARDING CONSTRUCTION AND FIRING TECHNIQUES CAN BE LOCATED UNDER SPECIFIC HEADINGS.