Surrounded and inundated by images our eyes and brains strive to sort through the visual cacophony and recognize 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. Its a push-pull endeavor where one pattern balances out or contrasts with another.
The process that I have been using for many years Ive dubbed Inverse Inlay. In order to get the complex patterns, I build up the surface layer by layer using slips painted on slabs. And then by using a lot of printmaking techniques, including stenciling, blocking, stippling, sponging, and stamping , and carving into the clay and through all these layers, I get a top surface revealing and reflecting all the layers underneath. It is then flattened usually onto a mold--and in doing so the slip gets inlaid into the body. Ive designed and made plaster molds for each of the shapes which unite all the pieces and parts and produce a smooth and seamless surface. When the work comes off the molds, the surface is finished; all the decoration is done. Whats left is drying, sanding and clear glazing. The layered variety in surface treatment yields a surprising depth to the finished piece The work is mostly earthenware fired to cone 04.