An exploration in texture AND FORM.

WHY? My work emerges out of a lifetime spent outdoors, in nature.  From my childhood growing up in the Sierra Nevada Mountains near Lake Tahoe to graduate studies in Forest/Environmental Science, I have gained an appreciation for the natural world that informs my life and my art. I love closely examining the intricate structure and inherent complexity of things like leaves, petals, pollens, seed pods, etc., to amplify the observed patterns, symmetries, and textures into carvings or additions to a wheel-thrown vessel. Animals, particularly skulls, horns, scales, and corals, and formations such as rivers, tidepools, and other geologic creations, are all sources of inspiration, as are interconnected systems in nature, such as food webs. My work ranges from a meditation on botanical forms and symmetries in nature to the tension between the organic and man-made.  What can I produce that either highlights a concern or prompts a conversation about current issues affecting the environment and ecosystems?

HOW? I work with various stoneware clays, as well as porcelain, and my process always begins with a sketch, then an underlying wheel-thrown structure to which I frequently embellish or add protrusions.  The protrusions are painstakingly made by hand, on the wheel, or by extrusion—each one is shaped and sized depending upon the how it fits with the original curves of the vessel.  Carving also allows me to find depth and shape.  I occasionally leave a vessel smooth and finish it with one of my studio-made oxides or glazes.

Once the initial form is created, it goes through a series of manipulations from trimming and shaping to carving and adding repetitive shapes.  Clay slips are sometimes applied to the outside as well at this point.  The drying process is slow and carefully managed to prevent cracking and warping, usually 7-10 days.  When the piece is safely dry, it is initially fired to approximately 1900° F, which significantly hardens the clay while keeping the pores open and receptive to glazes and oxide finishes.  For oxidation firing (~2200° F), I make all my own glazes and finishes from dry ingredients; for reduction firing (~2350° F) I use both personally made and cooperative studio-made glazes.  Making my own glazes allows me to make subtle alterations to the opacity or gloss of the final glaze.  Glazes are created for their texture, glossy or matte finish, and their visual interaction with the clay. With certain finishes, I strive to achieve a weathered and oxidized look of something that may have been outdoors and withstood the elements for years.  Surprises abound when clay and glaze combine in various atmospheres at extreme temperatures! Inside, the vessels are glazed glossy to hold water without weeping.  All final pieces are completely vitrified. Most of my work is quite heavy, both purposefully and due to sheer clay volume, because I always want my decorative objects to be able to hold a large tree branch, tall flowers, or to make a statement standing unadorned on its own.

The majority of my work consists of large vases and lamps (either bases or hardware complete, but I almost always leave lampshade selection up to you).

For me, the process of making is an absorbing, intuitive, and rewarding one.  I am happy every day that I get to work with clay.  I hope that my finished pieces become objects of enjoyment and contemplation for others.  

With gratefulness, Kerry