Andre Gide said, "Pay attention to the form only. Emotion will come spontaneously. A perferct dwelling always finds an inhabitant."
Indeed, emotion fills me when I see all the perfect forms in nature, everywhere I look, from the cracked conch shell on the beach revealing its perfect spiral, to the milkweed pod cracked open in the field, its brilliant airborne seeds streaming into the sunlight. The ordered symmetry and asymmetry of nature's forms reveal the growth of life, the movement of life.
I live on Martha's Vineyard, and island time, especially in the winter, seems to conform to nature's cycles. As a potter, I strive to make my work reflect the balance of life around me. It is important that the patterns I see around me are integrated into my forms.
I use a translucent porcelain body because it has a beautiful surface, and it can convey the qualities of light and shadow that I wish to express. After I throw my vessel on the potter's wheel, I alter the form to set up a movement of soft shadow. When the porcelain is leather hard, I carve patterns to add energy and counterpoint. I fire my work to cone 10, where the porcelain becomes non-porous and translucent, and one of the hardest surfaces known to man. I use a white stoneware to explore larger forms. I call these forms my warrior vessels because they take a lot of energy, and I hope they express it back. I fire the pieces to cone 10 after glazing them with microcrystalline glazes.