In creating my work, I rely on a wide range of hand-building techniques, including slabbing, coiling, pressing, and altering. I often impress, pierce, or apply additional clay to develop surface detail, and at times incorporate other materials to enrich the form. Texture and color are a central element in my practice—it allows me to interpret and respond to the natural world in a way that feels both personal and sculptural.

Each piece undergoes multiple firings. The first firing (bisque) transforms the clay into ceramic at approximately 1850°F. After this stage, I may apply glazes, colors, or metal oxides using a variety of methods such as dipping, pouring, brushing, wiping, or spraying. In some cases, I choose to leave areas bare, allowing the clay body to speak for itself.

The second firing brings the work to its final state—strong, durable, and permanent. Depending on the desired surface and depth of finish, I may use an electric kiln or gas kiln, reaching temperatures up to 2400°F. Each firing method contributes its own character to the final piece, shaping both its visual presence and tactile qualities.

I used to paint art on canvas with my Mom. We used painting as a means to express how life was happening for us on a daily basis. Sometimes she painted her friend’s dog or just let the paint run around the canvas to see where it would go. I’ll always remember those days on Friday, spent with her.

Now since her passing, I have discovered that clay offers me a way to express myself in ways I never had with painting and drawing. I am able to pour my soul into the 3 dimensions of clay art and it creates a voice for how I am feeling. Whether that is about life, about death, about the past, it never fails to appear in the sculptures I create.

I hope that you find the voice I use in my sculpture to give you a way to think about life, about people and about how art can cause feelings to be expressed without words.