I have been working as an artist and potter for 25 years. With an artist mother and a musician father I became involved in the arts at an early age. I began working with clay in high school and decided to attend the Kansas City Art Institute because of their strong ceramics program, then under the direction of Ken Ferguson, Victor Babu, and George Timock. I graduated from KCAI in 1979 and returned to Colorado to set up a pottery studio in Berthoud, a small town north of Boulder.  I made pots there for five years before attending graduate school at the University of Colorado in Boulder to work with my friend and mentor, Betty Woodman. I also worked with other talented artists such as Scott Chamberlin and Linda Herritt, and received my MFA in 1987.  In 1994  I established Crockett Pottery and became the village potter of the small town of Crockett(pop.3400).

I specialize in kitchen and tableware made to compliment the style of California pottery manufactured in the 30's, 40's, and 50's; this ware is simple and functional, glazed in bright, solid color, and fired in my electric kiln to cone 6. As part of my role as the village potter I also make a limited number of pieces that depict local scenes, including the landmark of Crockett- the Carquinez Bridge- as well as other local historical spots.  

In addition to my "Crockett Pottery" I also make wood fired stoneware and have been fortunate to work with some local potters and artists involved with wood firing.  This process requires a kiln specifically built for wood as a fuel source.   This firing ritual is a collaborative effort of loading many wares into a large anagama style kiln, and continually stoking the kiln for 4-7 days to achieve high temperatures and layers of wood ash that become glaze and surface. Pieces are usually not glazed, and color and surface is achieved by heat, flame, and wood ash. Each kiln load of ware contains unique characteristics that are shared by the work in each kiln, and each firing varies according to the way it is stacked, the wood that is used, and the firing technique utilized. I have developed a repertoire of forms that I feel are appropriate to this firing process and enjoy the random and unexpected effects that wood firing provides. A wood fired piece is multi-dimensional: a portion of the piece may display the mark of a flame licking, while another portion may be dripping with melted ash.  One learns to "read" a wood fired piece; much like observing wind or water erosion on a rock formation it is a visual description of a force of nature. 

The long and varied tradition of pottery making has never ceased to be an inspiration to me as well as a source for ideas. I observe closely ancient Chinese tripod pitchers, Sung dynasty bowls, Egyptian juglets, Mexican folk pots, English Medieval pots, and Bauer vases thrown by Matt Carlton in the 1940's, and hope to achieve with my work something of their sublime form, freshness, and vitality. I am strongly aware of being a part of a tradition that has sustained itself for thousands of years, filling a need that does not go away despite technological advances. One will always need vessels to contain things and it is that interest in producing vessels used in daily life that sustains me.

Get my resume here.