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My current work stems from my deep fascination with the features and systems of the natural world. I utilize serenity and the sublime in nature as primary sources for developing what I believe is an innate, universal aesthetic. Like objects in nature, my work is simply present. It is peaceful, fossilized, and not vying for your attention. At first glance familiar, these are not imitations of any one real artifact. They are conglomerations of ideas suggesting a history and previous function. I wish to evoke thought and contemplation as it relates to a viewer’s own experience.
In my initial approach, I avoid highly predictable outcomes. I visualize aspects of each piece and set out to develop the idea. I begin with a series of small, rough sketches and a list. Outcomes are revealed and decisions are made as work progresses. In my ceramic work, I use my own materials: paper clay, clay bodies, slip, glazes and new experimental materials in each piece. Some of my materials are designed to provide texture or volcanic effects during firing. Work in progress is often cut or fragmented and reassembled in a different order. I sandblast to expose imbedded aggregates and to open the voids left by burnout material. Each pieces is fired multiple times, and in some cases, portions are melted with an oxy-acetylene torch. After firing, ceramic pieces are coated with a thin layer of translucent bees wax (encaustic). Work is complete when the process has removed evidence of my direct influence; when form and surface merge and I have what looks like a product of nature.