The Work

The majority of my work is of a functional nature made on the potter’s wheel and fired to cone 6 (2232 F). Each piece is meticulously designed and labored over so the each aspect is not only a delight to use but also a joy to observe. Every detail is taken into account such as the way the lip is finished so that it not only fits the mouth comfortably but also is resistant to chipping from regular use or the occasional minor washing mishap. I spray glaze the majority of my pieces. This allows me to layer many more glazes than would be possible through the conventional techniques such as dipping or pouring, as many as six glazes on the exterior of a single piece. This extensive layering creates a more varied surface and allows for subtle transitions from one color to the next as well as from matte to glossy surfaces.

I also create work to be fired in a cross-draft wood kiln. Though the wood-fired work is also fully functional the process differs from my cone 6 work in a number of ways. First is that the wood kiln fires to cone 10 (2380 F). At this temperature the wood ash from the fuel becomes so hot that it melts and forms a glaze on the exterior of the pieces in the kiln. The surface of a piece will vary based on it’s position in the kiln as well as it’s orientation to the firebox and the specific clay body used. Pieces closer to the firebox will have glaze rivulets running down the piece in colors ranging from golden yellows to emerald greens depending on the type of wood used and amount or reduction throughout the firing. On the backsides of pieces and on forms further back in the kiln you’ll get more subtle “flashing” effects in the raw clay. These surfaces will range from whites and grays to yellows and oranges based on which clay body is used. These subtle transitions of color and texture heavily inform and influence my cone 6 work.

Apart from functional forms I also make “show” or “statement” pieces. These are fired in whatever kiln best suits the desired surface effects and are typically nonfunctional in nature. These are designed wholly around their aesthetic appeal with larger forms being over two feet tall. Perfect to frame in an entry way, populate an inset alcove, or decorate a mantle. These are actually my favorite pieces to make. As the scale of the piece increases so do the stakes. The largest ones taking several hours of work in creation without any margin for error. Then, even if the piece is thrown exactly as envisioned, the glazing process still holds the potential to disappoint. This challenge and risk continues to hold interest and push my skills.