While attending graduate school, I focused on developing a depth of surface through the building of layers of slips, image and glaze. The potter's wheel became a tool for the creation of parts - cutting and pasting thrown sections both on and off the wheel.
I became a resident at Baltimore Clayworks excited to return to atmospheric firing. Instead I found myself even more entranced by the slipped earthenware. I began to teach adult and childrens' classes. This experience solidified my desire to further develop my aesthetic sensibility and teaching skills.
Unable to continue to wood-fire my work, I returned to earthenware. I enjoyed the direct interaction of the slip and colour with the clay body, but found the lack of atmosphere in the kiln daunting. I began to play with naïve decoration using scraffitto and inlay.
Fired in an anagama kiln, this work is influenced directly by my time as an apprentice in England and exposure to medieval English slipware and the potters of North Devon.