Medium & Technique

“I say my works are like nature, people and life, a little different on all sides, yet the same.” 

The use of texturing is definitive in the combination of rough edges with portions of the forms being hard edge and/or geometric. The 3-D forms are usually odd numbered sides, oval, or uneven sides.  Compression is essential in the definition of the final outcome.  The changes in the shapes create contrast, direction, and asymmetrical patterning and rhythm.  The distinctive forms require a low pallet to balance the emphasis and variety of the works.  There are just 6 glazes in use.

I developed my clay body to accommodate the immediate and intense ways I work with the varied combinations of forming techniques.  Maturing at cone 10 (2,380 degrees), the distinctive clay & firing temperature make the porosity low (2%). This fact with the correct architectural making allow some of the works to be weatherproof. The unique food & flower containers elevate the functionality of the contents. The development of the works is enhanced by the qualities of this clay. The clay body is sometimes the surface, emphasizing the organic nature of the work, as seen in the Tree of Life above.

I built the 28 cubic downdraft kiln with 4 venturi burners. Propane is the fuel.  Bisque firing is done to 1649 degrees (cone010).  After bisque & glaze firing the kiln is closed to air tight, cooling for 3 days prior to opening. The kiln door is hand stacked. When loading the kiln the independent forms can often generate gradual atmospheric changes during the firing creating interest.

Working with custom clay allows combinations of forming-thrown, slab built, altered, pinched, and sculpted.  I use a motorize kick wheel.  I use a combination of hand tools over a time delay to enhance sculptural changes.  I have  slab works where the clay has been rolled and later stressed, and in some cases sculpted using several hand building techniques.

The wet clay work and glazing is executed by Paula. John assists with structural and visual design concerns, critiques of work in progress, wood ash collection for glazes, loading / unloading, and firing of the kiln, wood and metal additions,and display presentation.  The life style of these two individuals is woven together integrating the overall work.