About the Process 
I came to clay by way of painting but never quite abandoned the need to express in a loose painterly way, achieved in clay through quick, emotionally-charged manipulations and assemblages of thrown, slab, and press mold elements. Sculptures are not conceived from ideas but rather start to form themselves through playful interaction with the clay.The surface of the manipulated clay usually declares a direction and I follow. Objects can change directions many times, morphing from animal forms to human forms to fusions of the two and nothing settles in until the right emotional charge is embodied in the form.
It's working when my interplay with clay sponsors the creation of an object with both ancient, relic-like aspects of the Goddess fused with a child-like tender nod to the secret shared life between animals, plants, and humans.  
Stoneware, White earthenware
Forming Methods
My hands, wheel-thrown forms, slabs of clay stretched thin on the floor, press mold textures and objects. Assembly of disparate elements to create something entirely different.  
Favorite Surface Treatments
Crude press molds of floral and animal motifs for both texture and ancient relic-like patina. 
Slip designs etched loosely with sticks on the clay surface.
Firing Methods
Cone 10 Gas Reduction
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