I was introduced to clay in my late 20s after a stroke turned my life upside down. Working with my hands helped me heal physically and emotionally.
Over time, clay has given me a language and process to make sense of the world and my reactions to it. I’m particularly drawn to assemblages. The relationships between the forms are as important as the forms themselves and serve as a metaphor for the interdependence of all things in our world.
As an artist, I am mostly self-taught. I build my geometric shapes through a combination of slab building and slip-casting. I use low-fire earthenware clay and slip (04) because it uses less energy. I hand-carve each slip-cast form to refine and sharpen the edges before firing. After bisquing several kiln-loads, I set the forms out around my studio, combining and recombining until I’m satisfied. I apply a cold finish of casein paint to the individual forms and then adhere them to shaped backing board. Built-in hardware floats the work an inch from the wall. The brightly painted backings create an ethereal glow suggesting a light from within and mimic the play of light in our New Mexico skies.