Making spirited pots by hand on the wheel,  I take time to consider expressive details of form and surface at a contemplative pace.

My work is functional and metaphorical; ideas develop through traditional disciplines of historical research, drawing, studio process, experimentation and intuition.

The foot of each piece is inscribed with a fragment of poetry to deepen connections and engage the intent of the maker with hands and thoughts of others in the functional life of the pot.

The time-intensive ceramic process of wood-firing results in layers of tactile complex surfaces.

The cool porcelain clay-body is both obscured and highlighted by warm fiery flashing or bright melted glass from wood-ash and soda compounds. My wood-soda kiln is a source of inspiration that transcends classification as a technical tool.

My kiln is catalytic agent of innovation, directing artistic growth with a strong voice, guiding the making process to articulate ideas for different zones of each firing chamber. I design aspects of each piece to optimize potential markings to be left by flame, ash and atmospheric flashing.

I make work throughout the year, plan a month to prepare pots and kiln for firing, and allow at least a week to stack pieces carefully together in the three chambers, before bricking-up the kiln doors. To achieve a superb range of rich surfaces, I fire with a crew of friends for 40 hours, burning two cords of seasoned wood. My kiln takes a week to cool before pots can be revealed.