I began studying
ceramics and art in Ithaca NY, were I grew up. Before attending college
at Alfred University in Alfred New York I moved to Brisbane Australia
where I studied Ceramic art and material science. It was during this time
that my investigation of the vessel grew strong and my interests gravitated
towards functional Pottery. The Studio Ceramic movement is still very
strong in Australia and greatly influenced my process and esthetic.
After returning from Australia I attended Alfred to study Sculpture and
Ceramics. At this time I began researching the history of the vessel.
This strong history continues to have an impact on my work today though
I have drifted from ceramics to glass. I was drawn to Greek vessels because
of their dynamic relationship between surface and form. In contrast I
was also attracted to Chinese vessel forms because of their powerful presence
and quite demeanor. Also influenced by artists such as Peter Voulkos and
Robert Turner the idea of simplicity and abstraction in form overlapped
by surface pattern and texture emerged as a crucial element in my work.
My transition from ceramics the glass grew from a need to explore a material
with less history as an art medium and a process so much more direct that
the draw was overpowering. My final years at Alfred became devoted to
glass and the investigation of sculpture within that medium. It was not
until I started attending Pilchuck Glass School in Stanwood Washington
that I started investigating engraving and carving glass. This process
opened the doors for me to pull together elements of color, form, pattern
and texture to create a unique voice within the material. Because cutting
glass inherently leaves a matt unpolished surface I began to see a strong
connection to the ceramic surface and its relationship to light and color.
By removing the glossy shine so recognized as glass I can take the focus
of the material and put it on the surface color and design. The matt surface
absorbs light while the shiny surface will reflect it. This phenomenon
causes colors to become rich and bold, a quality often associated with
the ceramic surface weather it be raw or glazed. To bring this surface
to glass is to give richness and sensitivity to pattern and color.
The patterns that I create can be repetitive or unique and often reminiscent
of ethnographic textile design. At the same time they become abstract
enough to allow me to show a personal mark as if I were drawing. My process
is often spontaneous, starting with a vague idea on paper I than move
to the object, were process plays a huge role in the overall composition.
Cutting the surface can create a line quality that can be graphic or painterly.
Just like drawing, my personal mark is apparent. Like ceramics, the evidence
of the hand, the subtleties of surface and the creative process are vital
the creation of my work.
Please contact us for availability.