100% Handmade Work
Made with passion
for people with passion
My ceramic work I believe is simple and elegant, colorful and precise. Both masculine and feminine. The pieces are constructed in a very angular and geometric fashion, yet the finished form is very feminine and soft.
The patterns with which I begin are all of the female S-curve shape. I freehand a quick s on a piece of illustration or mat board and then cut it out to be used as a template.
Art Deco | Mechanical | Clean | Classic Simplicity | Modern
My early background is in industrial art, not fine art. I learned techniques of various mediums through the point of view of trade craft. I studied and learned welding, forging, metal casting, mold making, graphic arts, wood craft, carpentry, printmaking, photography, technical drawing and drafting. I learned the skills, techniques and media of the arts, but from a different point of view and perspective. I think from there I gained the love of craft, and pride in the crafts themselves.
These classes did not seem to be work, it was fun, and for the first time in school I was able to be at the top of the class without what seemed to be much effort. I found a passion. I eagerly began taking as many art classes as I could in as many disciplines as were offered. I even found a passion for art history and began consuming it as well.
My parents said to me at the time,” You know, you seem to enjoy and do really well in art, you should consider pursuing it as a career.” Truth is, I already was. Even though I had not the guts to admit it to myself yet. It is Art, there is no money to be made in Art………… Find something you are passionate about and you will never have to work a day in your life.
While attending school, I got a part time job working for Maralyn Wilson Gallery, a very successful and prominent gallery in Birmingham. Moved up to full time rather quickly, I guess I somehow proved my worth. At some point, I asked her if I could bring in my tools and supplies and use some of the extra space at the gallery as personal studio. A place for me to create and pursue my own work, away from my space at school. Maralyn told me sure as long as it is on my own time. And so it began.
I spent one to two years learning clay through trial and error, mostly error. I applied the techniques and fundamentals that I learned from James Alexander at U.A.B. to developing my own technique and style. In the meantime, I lost interest in school and began to focus on developing and marketing my skills and talents toward working and not learning.
I could continue to pay someone to teach me the skills, or learn the skills necessary through work rather than study. Possibly make a little money while learning through work. I chose the latter. I worked with Maralyn Wilson for close to twenty years, up to her retirement. I have always been a tinkerer so to speak. From childhood loved to take things apart to see how they work. Broken or not, and try to put back together.
My first foray into the arts in college was graphic design. After my second class the professor told me that I didn’t have it in me to be a graphic designer, that I should pursue a different discipline. Although it hurt at the time, he was damn right. That was my last graphic design class. Afterward, I studied photography, drawing then painting, all with some success but without the passion. The two dimensional work has always felt awkward, required work and did not come easy. Eventually I found my way into ceramic sculpture and sculpture. And there it was, the passion.
I pay close attention to detail, but have had to learn over the years not to become obsessed with the details. It is at times easy for me to become lost in the little things and lose sight of the big picture. In Japanese pottery there is a saying kama-kizu, which roughly translates to kiln-bite. It refers to the idea that in pottery, once a piece goes into the kiln what happens to it is beyond ones control. Often, pieces come out with many flaws and or defects. This has to be expected and accepted as part of the process. In fact, the flaws become prized as being unique to that particular work.