Beauty / The Ceramic Process / The Art / The Life, The Healing / The Culture

Organic imagery is a metaphor for psychological and spiritual growth and transformation.

My desire is that each object would become a channel for the transformation of consciousness, inviting the viewer inside, to the still and perfect natural world where my art dwells. I hope to enliven a sense of awe and mystery, a way of seeing new possibilities. I think of my art as fragments surrounded by vast space -- focused moments of awareness against an infinite backdrop.
There is a provocative point and counterpoint with abstract rock, water, and flower imagery,
between the disparate elements of the massive, dense, timeless presence of cliffs, the movement, change, and fluidity of water, and the delicate, ephemeral, yet cycling and abiding lives of plants. Flowers are not decorative, but are forms that begin as vulnerable, fragile, and intimate, and by being large, become commanding and triumphant, powerful, and monumental. Human forms are deep within landscapes and seascapes, as an integral part of the natural world. I have given the rocks a soft, yielding visual quality. They are often enveloped in abundant, lush plant forms. The hardness of the porcelain and glass gives the water and plant imagery an enduring strength. The tension of yin/yang (opposite energies) is often present. All quietly merge, Zen-like, into a unified wholeness.
Layers and edges are both technique and content.
  1. Layers imply depth of meaning, subtlety, multiple interpretations, chancing upon the hidden which allows new insights, shedding an old self for a new self. Dynamic edges are where growth takes place. Adventure, exploration, and expansion are about being on the edge, and do not occur in the safe and protected middle ground.

Glass and clay become partners in the dance

Glass is a crucial element of the ceramic glazes, but I have also given it an independence, "liberated" it from the clay forms. I have incorporated slumped glass and pate de verre into a number of sculptures to evoke an iridescent translucence and a sense of transcendence. Light passes through, emanates from within, or is reflected off the surface, en-light-enment of materials.
The forms are sensual, timeless, mystical, universal.
The work could have been made yesterday or two thousand years ago, or maybe even grew in a garden or on the coral reefs. I have always lived by ocean, lakes, bays, and woodland creeks, and my sense of change grew from watching the ebb and flow of tides throughout the different seasons. Fundamental laws of nature are recognized and rhapsodized. In religion and mythology, water is associated with the female element, and many of my pieces refer to women deities -- goddesses of an inner realm.
Each work of art is a meditation on creation.
Creation is the process of all of infinity collapsing to a point, and then vibrating into diverse aspects of manifestation. This is a concept that is familiar to Hindus as well as physicists when they conceptualize the creation of the world. Each creation of art is a metaphor for the beginning of the universe. My pieces germinate from that deep, focused, transcendent point.