Artist Statement
I use clay to make real the things that I imagine – humans with horns, stylized animals carrying passengers, exotic water figures. My challenge is making my pieces reflect the malleability of the clay even after they are ‘hardened’ by kiln firing. My hope is that though they are strong, they are not rigid – that the softness of the original clay remains obvious, where my fingers touched and the clay responded.
I first started working with clay many years ago as a potter in Boulder. A remarkable ceramicist, Betty Woodman, was my teacher and mentor while I began to learn about the medium. My life took a path away from the potter’s wheel and when I returned to clay it was at the Art Students League in Denver. There I began learning my hand-building techniques from a series of highly regarded professionals including Peter Durst, Barry Rose, and Janey Skeer. I’ve continued to develop my skills through the workshops I’ve attended with a number of remarkable artists - Caroline Douglas, Debra Fritts, John Balistreri. I have exhibited in Denver at Niza Knoll Gallery, Redline Gallery, Art Students League, and The Durst Gallery.
I first started working with clay many years ago as a potter in Boulder. A remarkable ceramicist, Betty Woodman, was my teacher and mentor while I began to learn about the medium. My life took a path away from the potter’s wheel and when I returned to clay it was at the Art Students League in Denver. There I began learning my hand-building techniques from a series of highly regarded professionals including Peter Durst, Barry Rose, and Janey Skeer. I’ve continued to develop my skills through the workshops I’ve attended with a number of remarkable artists - Caroline Douglas, Debra Fritts, John Balistreri. I have exhibited in Denver at Niza Knoll Gallery, Redline Gallery, Art Students League, and The Durst Gallery.