Surrounded and inundated by images our eyes and brains strive to sort the visual cacophony by recognizing pattern and color. I carry this impulse into my pottery mixing patterns and colors, searching out world patterns that I can filter thru my aesthetic, combining and repeating to achieve something new. Using simple and strong classical forms, I integrate these images onto them. It's a push-pull endeavor where one pattern balances out or contrasts with another.
The process that I have been using for many years I've dubbed "Inverse Inlay". In order to get the complex patterns, I build up the surface layer by layer with slips painted on slabs. Then by using printmaking techniques including stenciling, blocking, stippling, sponging, and stamping , then carving into the clay through all these layers, I get a top surface revealing and reflecting all the layers underneath. It is then flattened - usually onto a mold - so the slip gets inlaid into the body. I've designed and made plaster molds for each shape which unite all parts producing a smooth and seamless surface. When each piece comes off the mold the surface is finished; all the decoration is done. What's left is drying, sanding and clear glazing. The layered variety in surface treatment yields a finished piece with depth, luminosity and multi-layered detail.