Earth, water, and fire are the elements I try to manipulate to form my work. The
earth and water are used to form, shape and then color my creations. I use fire to
remove the water and set the color and earth.
The art of juggling these elements in different proportions and temperatures is like
solving a puzzle for me. Even when the form takes shape, the glaze is tested and
applied; the kiln is fired according to many previous firing notes, I still have to deal
with the humidity in the air and the wind. So the puzzle changes every time.
Although this may seem to some as a never-ending battle, I enjoy the challenge.
The feeling I get when I have clay in my hands is one of a child. Firing my kiln is a
two-fold enjoyment, watching the flames and trying to control the process, and
opening the door when it’s done.
When I sit down, at my wheel, I have a basic idea of what I want - a pitcher, a bowl,
maybe a vase. I throw the basic shape of a cylinder, from here I let the clay have
an influence on its final shape, therefore no two pieces will be alike.
I like to make marks on my work as it spins, by just touching the work with taps
from a tool. By connecting the taps, images are formed. In some of my work I use
the glaze to form images.
When people see my work, I want them first to enjoy the visual impact of my work,
then I want them to ask, how was that made, what do these marks represent.
earth and water are used to form, shape and then color my creations. I use fire to
remove the water and set the color and earth.
The art of juggling these elements in different proportions and temperatures is like
solving a puzzle for me. Even when the form takes shape, the glaze is tested and
applied; the kiln is fired according to many previous firing notes, I still have to deal
with the humidity in the air and the wind. So the puzzle changes every time.
Although this may seem to some as a never-ending battle, I enjoy the challenge.
The feeling I get when I have clay in my hands is one of a child. Firing my kiln is a
two-fold enjoyment, watching the flames and trying to control the process, and
opening the door when it’s done.
When I sit down, at my wheel, I have a basic idea of what I want - a pitcher, a bowl,
maybe a vase. I throw the basic shape of a cylinder, from here I let the clay have
an influence on its final shape, therefore no two pieces will be alike.
I like to make marks on my work as it spins, by just touching the work with taps
from a tool. By connecting the taps, images are formed. In some of my work I use
the glaze to form images.
When people see my work, I want them first to enjoy the visual impact of my work,
then I want them to ask, how was that made, what do these marks represent.
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Artist Statement