“I have always followed the school of thought that form is the most important aspect of pottery making. No amount of glaze manipulation can rescue a poor form. So I strive to make simple and quiet forms, sometimes altering the shape by pinching, scraping or drawing in the clay with a small stick. These textures affect glazes by thinning them on exposed edges and thickening them in crevasses, thus making subtle changes in the color.
Most of my pots today are first glazed with either a red or white shino glaze, which have their roots in 1500-1600 Japanese ceramics. After drying for 24 hours, patterns are drawn with wax and a final glaze is either sprayed on or the pots are dipped in the glaze. The pieces are then loaded into a gas kiln, fingers are crossed, a broad spectrum of things are offered to the kiln gods and they are fired to 2350 degrees. Three days later the kiln is cool enough to unload. The kiln gods are usually thanked, occasionally cursed and the cycle begins again.”
“The magic for me is this: after nearly 40 years of working with clay I still can hardly wait to get to the studio every day. The anticipation of waiting for the kiln to cool down is almost childlike. How many people are that excited about what they do for a living? I am a very fortunate man.”