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Utilitarian objects are accessible and universal. Their forms are
recognizable and their utility makes them inclusive. I choose to
make utilitarian objects in order to use these characteristics as
a foundation of my ideas. This decision invites the viewer to discover
my visual and tactile interests.
Process is the vehicle I use for expression. When I use the wheel
to create form, I respond to the clay as it passes through my fingers
and tools. I search for a clean line that displays a balance of
volume pushing out and a force squeezing in. When I work with molds,
I roll, pound, cut, and throw slabs to produce thick, soft, sharp,
or hard edges. Rather than defining my work with a specific construction
process, I choose t o leave the process a variable and concentrate
on intuitive response information tools leave on the material.
Utility may seem to require certain formal elements. I use these
requirements as a beginning for building form. Then I challenge
these assumptions, altering forms to create a new perspective while
maintaining the essence of utility. I often explore specific form
by playing with the formal elements. Volume, shape, center of gravity,
spouts, handles, fee, lids, may be all be altered in subtle degrees
to change the composition of a pot.
I cover the clay surface with slip. Pouring and layering, I capture
the qualities of liquid to show fluidity, motion, and translucency.
Glaze is applied over the slip to achieve two different results.
On some forms, I choose to pour glaze to mimic the gesture of the
slip. On other forms, I arrange glaze with controlled marks to punctuate
the composition. The work is fired in a soda Kiln. When the soda
dampens the surface, the slip warms up and layering is revealed.
The relationship between the form, the firing, and my hand is complete.
Simplicity is the key. My work is built on consideration. There
is no shock, no glitz, and no glamour. There is a subtle balance
of geometry in form, a comparison of symmetry and asymmetry in decoration,
and a warm serene surface. Softly, the work asks for the viewer’s
attention. Each piece is ready for a conversation and willing to
be part of a greater surrounding.
EDUCATION
1999 MFA Ceramics, University of Nebraska-Lincoln, Lincoln, NE
1997 MA Printmaking, University of Northern Iowa, Cedar Falls, IA
1995 BFA Ceramics, Kansas City Art Institute, Kansas City, MO
PROFESSIONAL EXPERIENCE
Hartford Art School, Hartford, CT
Sabbatical Replacement (Spring 2005)
Wichita State University, Wichita, KS
Voluntary Adjunct Professor (Fall 2004)
University of Alaska - Fairbanks
Visiting Summer Faculty (Summer 2004)
Ohio State University, Athens, OH
Visiting Assistant Professor (2003 - 2004)
Shigaraki Cultural Ceramic Park, Shigaraki, Japan
Resident Artist (June-July 2003)
Wichita State University, Wichita, KS
Visiting Artist/Adjunct Professor (2001-2003)
Archie Bray Foundation for the Ceramics Arts, Helena, MT
Resident Artist (1999-2000)
Class Instructor (1999-2000)
Studio Technician (1999-2000)
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