My entry into professional ceramics began ten years ago, wood firing with a group of wild women in Tolland, Mass. It was like a gateway drug. My friend Nancy Magnusson said, “Here, just try this…just one firing.” Before I knew it, I was driving out there at 4 a.m. to take the dawn stoking shift.
Wood firing is rigorous, unpredictable, and a little bit crazy. When Nancy moved to New Mexico, I wanted to bring those qualities to the work I was making in my own studio, along with the added element that I was missing so badly from wood firing — COLOR. I secretly think of this body of work as inspired by my lifelong fascination with the psychedelic experience.
I also have a more approachable body of work centered around a family of glazes called shino. These recipes were handed to me by the master himself, Malcolm Davis, who called shino “The Fickle Goddess.”
I enjoy teaching ceramics almost as much as I like making pots. I love experiencing the “what if…” moments and the liberation of not knowing the “rules.” Clay is anti-intellectual, non-verbal, pure proprioception. I believe we all need less talk and more mud.