I started wood firing in 2000 while studying ceramics at Nassau Community College with Bill Shillalies. The small Anagama that we would fire became an instant love of mine. I continued firing kilns from then on. I find myself overwhelmed with joy when firing wood kilns. From start to finish I almost can not contain myself with the excitement it brings me. One of the most impressive aspects about firing Anagama kilns is that you are constantly learning from the process- this is just one of the things that draws me to it.
Concurrently I create vessels and forms that focus on alternative surfaces. Material has always been part of my process. Clay and firings have fostered a connection to nature and history, which is subsequently part of my content. The various methods of construction intrigue me and play a role in my studio practice. In my work the consideration of surface and form are equivalent.
Concurrently I create vessels and forms that focus on alternative surfaces. Material has always been part of my process. Clay and firings have fostered a connection to nature and history, which is subsequently part of my content. The various methods of construction intrigue me and play a role in my studio practice. In my work the consideration of surface and form are equivalent.