Creating professionally, for me, is trusting that my small piece, if done with authenticity, is the greatest gift I can offer and that it does ultimately make a difference if I offer or withhold that gift. It's a way of expressing my personal truth, whatever color it may be, and trusting that expression as a language of the soul for others as well.

I think of myself as an alchemist -- starting with the most common of elements (clay and water), I create from a mystical place within me and bring together various materials, symbols, and images that I trust to be as transforming and peaceful to others as they are to me.

When I abandon product expectation and simply remain awake to all that is in my midst, forms, images, and inspiration miraculously lead the way. Often I am amazed when looking at a completed piece that really pleases me, as if to look over my shoulder and say, 'who did that?' I feel both humbled and honored, knowing I was there; my hands following something much larger than myself.

MY CREATIVE PROCESS

The intertwining dance - of nature, vessels, and the spiritual realm - continues to prevail in my work. Qualities of the ancient vessel mirror my essence of living and creating. The circular form is powerful in its representation of the never-ending journey of eternity. The feminine vessel energies illuminate a willingness to receive (remaining open), a penchant to nourish (embrace and enrich), and the intention to renew the cycle through sharing (pouring forth and giving birth). The endlessly inspiring vessel qualities, coupled with my deep appreciation for the immense wisdom and beauty of nature, continue to be fertile seeds for the Tree of Life Series.  The alluring and beautifully hued wildflowers of the Nature Series expand the body of work with a captivating and distinctively brilliant palette.  Organic and mystical, each of the vessels impart an ethereal quality.

Author Ted Andrews, in Animal–Speak, suggests: “Every flower blossoms with reminders to be creative, and every tree whispers with its rustling leaves the secrets of life.” Trees and flowers, nature and all Her elements indeed seem to whisper to me incessantly as I sculpt and write.  Their language is mystical and magical, apparent and elusive, evocative and reassuring. Seemingly common elements and threads weave themselves together, through my hands and words, into amazingly poignant and often cryptic expressions. Frequently, I am amazed when looking at a finished piece, as if to look over my shoulder and say, ‘Who did that?’ I feel both humbled and honored knowing I was there, my hand following something much larger than myself.  Again and again, I am blessed and inspired by the choir of guiding Voices throughout the process. The voices of the clay are the Voices of my inner guidance, holding a language I believe speaks to me and all of us at once. It is typically only after the vessel is completed that I am able to fully recognize and appreciate its full essence. The vessels evolve into treasures with a sensation of history and antiquity – rich in a tapestry of story and symbolism. Forms, creatures and numeric elements take on a sometimes cloaked or sometimes visible presence in my work, while continually weaving a mystical, symbolic thread.
 
Although I obtained a formal education, as an artist, I consider myself largely self-taught. Each piece has its own process of evolving and I find myself learning, growing and evolving in large and small ways along with each one.

Typically the smaller vessels are created as I hand-build a form in water-based clay, using slab and coiling techniques. I then refine the surfaces using a repertoire of tools often including a rice paddle, metal ribs and various stones. Always, I smooth and massage the interior with a slice of coconut shell, now worn to an intimately, silken surface. It is during this process of turning, scraping, and smoothing that I sit attentively listening to the vessel for guidance on its intentions – its voice. If I begin with an idea, I attempt to hold it most loosely, so as not to miss the opportunity to hear a deeper Wisdom. With the surface prepared, and having received a sense of the forms’ intention, I begin sketching on the surface with a small needle tool. With sketching complete, I use a subtractive sculpting method: removing all the clay that will not contribute to the finished form. Concentrated attention is given to the balance and rhythm of light as it will flow through the vessel openings – the light, and its reflections, being a powerful Presence within each vessel. A final refining of the surface and cutout areas follows before allowing the piece to slowly dry before it is fired in a kiln or molded. Certain vessels, including all larger vessels, are created in an oil based clay and/or wax. While these most often require armature, the process is quite similar with three major exceptions: the clay is never fired, the negative spaces created by the cut-outs must be visualized rather than actually “cut through” and a combination of additive and subtractive sculpting techniques are used.

With the original vessel complete, the second lengthy process of lost-wax casting begins. The intricate cutouts and open interior surface demand a highly labor-intensive casting process. Each cutout area must be re-cut in each individual wax form, and then cleaned to a smooth and even surface. Unlike sculpture with an exterior surface alone, the open vessel form requires delicate attention to the surfaces on the interior, exterior and (because of the cut-out areas) often hundreds of spaces in between.  Many, many talented hands (those whom I refer to as the wonderful “ghost artists”) work with the pieces as they move through the precise stages at the foundry, insuring the highest level of craftsmanship in each step of the process. Unable to be physically present for each unique piece in each stage of the precise process, I work closely with these artisans, providing the necessary guidance to fulfill my visual and quality standards for each piece. A foundry proof (FP) is created, as the model/prototype, to assist the various artisans. Careful and repeated inspections are performed throughout the process prior to each piece receiving final approvals.  

I remain immensely involved in the intricate patina and finishing processes. The final cast works receive a patina (chemicals most often applied hot, which oxidize the copper in the bronze and create color). These chemicals, in my work, are carefully applied in many layers to the cast bronze, helping to create my signature look of a multi-palette, organic (and often arboreal) patina with an old world luster and alluring detail. Though there are truly only three main water soluble chemicals in the art of patination, hundreds of variations are possible through application techniques, temperature, surface preparation, use of dyes, pigments and finishing choices. Maintaining even heating conditions with the often hundreds of cut-outs (in sharp contrast to the solid base) is a unique challenge. Dyes and/or pigments, at times, are added to enhance the tonal values without compromising the stability of the patina. Each piece is well sealed and protected with a lacquer and/or wax finish. My steadfast goal is museum quality work that is both evocative and inspiring.  My commitment to achieving that goal is rewarded by the growing laudatory response of my collectors. I believe the work speaks with a deeply authentic voice: its initial capture is through the alluring visual qualities while simultaneously igniting a much deeper, soulful resonance. I feel both blessed and honored to share my creative visions while humbled by the gracious support and encouragement I continue to receive.

Companion writing accompanies most of my work. Once I have named the essence of the vessels’ intention, I engage in lengthy research regarding the elements and images to be included. The writing unfolds gradually throughout the process. This prose is offered as a seed to ignite one’s own contemplation while sharing the symbolic interpretation regarding the significance of the piece, to me, as it was born. It is my hope that the work will speak in many languages, changing from season to season in one’s own life journey. I believe my writings to be messengers reaching far beyond the seed I receive while creating them

sketch for Sacred Marriage

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Each piece is authored with a mark resembling a very broad, cursive “Z”, found beside my signature. This mark is an expression of the Spirit (Wind) always moving within and around us. It is my way of remembering and acknowledging I never create alone – perhaps more accurately, my mark of gratitude.