I have been working in clay for several years, starting as a hobbyist about 15 years ago. I have taken workshops from several very fine potters — including Ken Matsuzai, Randy Johnston, Lisa Hammond, Phil Rogers, and Guy Wolff.

As a ceramic artist, I work to create forms that are both satisfying to make and enjoyable to use. I like the tension that is set up when a soft, round form has been cut or altered to introduce interesting lines and edges or to show the texture of the clay.

I work in my home studio and primarily fire the pots in a natural gas reduction kiln that my husband and I built and fire together. Most of my work is salt and soda glazed and is fired for 24 to 30 hours to over 2300 degrees. I mix and use simple combinations of clay-based slips that allow the firing to produce a variety of colors and flashings to highlight the “mark” of the salt and soda.

Beautiful salt and soda glazing is the result of bringing together the right combinations of body, slips, and glazes that make it possible for the atmospheric firing to create aesthetically appealing variance in the surface of the work.