Contemplation, quietness, dignity and process are the concepts I want to convey in each piece. To compel someone to bring one of my pieces into their lives; to view it, use it, and live with it within their surroundings. That would be the ultimate compliment to my work. One I believe every artist aspires to.
Each series of work begins with drawings, to resolve form, proportion and fabrication techniques on paper long before I ever get my hands in clay. My sketchbook is a not only a rich source of ideas developed over the years, but a record of my evolution as an artist. Once I start working in clay, intuition, technique and personal aesthetic gives each piece it’s own character. At it’s best, my time in the studio evolves into being “in the zone” where everything comes together and I encourage the clay to do the things it, as a material, is best suited for. It’s not something I can force but it often shows up and the less I question it, the longer it lasts.
Nature is a significant influence in my work. Geography and geology have impacted my visual choices most of my life, from mountain ranges and rock formations to river valleys, deltas, even beach sand. Whether you look at these close up or from 30,000 feet above the ground, I find the aesthetic compelling and inspirational. Japanese architecture, decorative arts and furniture design are also inspirational for balance, simplicity, and a contemplative aesthetic.
My goal is to create visually engaging work, with a focus on line, form, scale and posture in each piece, demonstrating a sound technical foundation, with an ability to communicate to the world that art can feed the soul.