Clay’s flexibility and resilience draws me to it. I love its ability to capture our earthly life with its perfections and imperfections, as well as, its willingness to be worked and reworked, dried, vitrified, used, maybe loved, and/or cracked up. Recently I have begun to participate in event of wood-firing my pottery with others, which has deepened my desire to create with raw nature. In that vein, my ceramic pieces aim to be like recycled remnants of life, like driftwood on a beach, boulders on a hill, beliefs in an old spiritual practice, or relics dug up from a primitive society.
Twenty years ago, my family settled down on Woodland Sun, an homestead on the edge of the Applegate Valley in Southern Oregon. Wood harvested from our property heats my studio; solar charged batteries power my wheel; rain water collected off my studio roof moistens my clay and helps my clean my tools; and the heat of the sun in our greenhouse and garden dries many of my ceramics.
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