I have been working with clay for over 35 years and still delight in and get excited by its versatility and tactility. For the past twenty years I have put most of my energy into hand building with clay. I find clay to be a limitless medium in which I am able to express and explore ideas. I love its tactile quality as well as its resiliency and strength.
In this series I am exploring and expanding basic vessel forms. The beautiful but simplistic forms cry out for "something of interest" on the "skin" of the vessel itself. For me, this "something of interest" is achieved in the visual texture, pattern and color produced by saggar firing the vessel.
THE PROCESS
When bone dry, these hand built or wheel thrown pieces are covered with fine clay particles called terra sigillata. Three or four coats of terra sigillata are brushed on each pot; the pot is polished and then bisqued to 1751 degrees F (cone 08) in an electric kiln.
Each piece is put into a saggar (a clay container) that contains sawdust and/or salt marsh hay (some of which has been mixed with oxides), seaweed, green hay and salt. It is this combination that produces the array of colors on each piece.
The saggars are fired in a gas kiln to 1587 degrees F (cone 012). This firing takes six to seven hours. Finally the kiln is unstacked and the saggars unpacked—this is the most exciting part. I never know quite how each piece will come out—but I know each will be unique.
Because of the low firing temperature, these pieces remain porous. The fuming of the combustibles, oxides and salt during the firing are absorbed into the porous clay body and produce the inspiring visual textures and colors.
These pieces are to be used in a purely decorative or sculptural way.
The potters with whom I have studied and who are still influencing me are Juan Quezada (a national treasure of Mexico), Michael Wisner, Makoto Yabe, Winnie Owens-Hart and Suzanne and John Stephenson.