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 Because I love to create with my hands, sculpting with
clay provides me with a fun, natural outlet for artistic expression. For years, I used polymer or air-dry clay, but when the pace of our family life finally slowed, I
purchased some real clay, formed a small object and fired it in a tiny annealing kiln that I found in an old shop building. After firing, I gave my first clay creation
the 'tone' test by rapping it lightly with a spoon. All my former materials could produce with the tone test was a clunk or a thud. I was hooked forever when a nice rich orchestral tone rang out from my first real
clay creation. With the rich tone ringing in my ears, I rushed out and purchased pottery equipment, demonstration videos and books. I wanted to learn. A whole new world opened
itself to me and continues to evolve every time I place my hands on clay. The feeling of clay submitting to the movement of my hands, allowing it to be folded
and molded, stretched, and squished is intriguing. I am addicted to this new world.
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With so many different and wonderful kinds of clay and even more types of surface decorations, it is difficult to settle into one particular area of the art. And, because of my late start in the world
of clay, I feel an urgency to learn as much and as fast as I can and am interested in several different phases of clay.
Though I repeat forms and surfaces that I adore, my creations are one of a kind. My pieces are thrown, sculpted, hand built or some combination of all three. The venture through the world of clay is
ever changing. Amazing new directions reveal themselves along the path and I find myself becoming more daring and less inhibited in my handling of clay and its very technical and chemical character.
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Another favorite is mid-fire dark bodied stoneware and the textures of Kaki glazes washed with oxides. The combination of the glazes and the kiln produces limitless visual designs and
textures.
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 This piece was thrown and altered and has found a comfortable home on my kitchen counter, housing our napkins.
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Potters learn early that the kiln has a mind of its own and sometimes it's more creative than others. I was a delighted potter when I opened the kiln to find the platter on the right. The
texture is deceiving because the depth of it is limited to visual. Running a hand across the surface will find it perfectly smooth, an optical illusion. Because of the kiln's unexpected contributions, it's
impossible to predict the exact pattern of a glaze as the materials move and mix at the will of the heat.
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Some of my work is with mid-fire porcelain and I've recently been creating whimsical bottles and teapots. The whimsy theme was my response to depressing daily media reporting.
The only addition to these pieces is the China Painting of their attire which is produced with multiple firings. The Whimsies are pretty classy folks enjoying a great night out.
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 These little Froggies fit in with my whimsy
theme and are sculpted hollow with dark or speckled mid-fire stoneware. My first frogs were whistles but I have since discontinued the whistles because they compromise the form of
the frogs to a degree. The frogs' skin is a lichen glaze that I've tested and formulated for more than a year to get it to break on the surface without leaving bare spots, giving the warty
looking skin I'm wishing to achieve. The last one in this series is still in his wet stage before any firings. I added him because I love how "alive" the clay looks before it has dried.
His name is Bartholomew; he's a cutie with an attitude.
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These three pieces are low
fire clay with Terra Sigilatta surface decoration. Terra Sig fascinates me with its satiny finish without the use of glazes. Because a lot of the enjoyment of clay creations comes from the tactile aspect,
Terra Sig is especially appealing with its smooth and silky surface. I enjoy doing multiple firings with brushed-on oxide washes to produce a burled wood likeness. Like my
father, the furniture maker, wood is dear to me.
While the concept of the shaker is not original, the form and glaze make it unique. It is double walled, thrown in one piece. The inner wall is
somewhat tube shaped with a small opening at the top to both fill the shaker and dispense the contents. It is equally effective for salt or spices. Because the interior is not
glazed, it absorbs moisture, preventing the salt from clumping. This shaker is part of a series of pieces named "Chautauqua Summer Days" I created to celebrate the earth, sun and water
at the Lake that is near and dear to me.
