I make metaphoric and utilitarian vessels in clay to explore beauty as a human nutrient. The vessels arrayed in delicate scaffolding, secured to a wall, nested on industrial felt or held in someone’s hand, bridge theoretical notions of art, craft and design. I offer these vessels in precarious arrangements, intimate settings and community spaces to create sensate and spatial fields for embodied viewing. Ultimately hoping to intonate a range of psychic relations.

My work investigates verbal and non-verbal differences I observe as resonant or dissonant interactions between individuals or in community. I aim to initiate a kinesthetic retuning of mind and body alignment through activation of space and the viewer’s body.

As a crafts person, my hands guide an intuitive awareness of interactions into the material realm. The utilitarian or metaphoric vessels lend these observations physical form. For example, Geo Political Array, arrangement of porcelain catchments teetering on masonry line structurally suggests, by turns, safety or peril.  Orogenic Spires, ceramic edifices that at once suggest beauty and fragility metaphorically activate a sense of land formation and wind currents to heighten awareness of invisible forces. Objects and spatial installations made to invite intimacy.

I choose clay for its properties of flexibility, forgiveness and my inability to control outcomes. I use porcelain, primal clay that is mined where it was formed and sedimentary clay that has been transported to new places by water. 

I am an American artist, living in San Francisco, California. I am originally from the East coast where I received my classical education in Sculpture from the Art Students League of N.Y.C., N.Y., on the Merit scholarship and my Bachelors Degree in Graphic Arts and Education from Bennington College in Vermont in 1991. I teach clay modeling, protraiture and the figure to adults and children in public and private schools and in my studio.
Commissions I have done include lifesize bronze animals, animal stone carvings and portraits . I paint landscapes on location. Everything I paint has ancient mythic symbols that are revealed in optical illusions in my brushstrokes. My skill in my craft is important to me. I am greatly inspired by nature and by the great masters of the past and old American folk art. I try to bring out the architypes from the ancients in my portraits and create some kind of a pun.

I have a deep affinity for old stuff - funky junk, rusty things, bits and pieces of detritus most often referred to by the uninitiated as "garbage" or "trash".  ( Ah! but therein lies the idiom! )  Often, If it speaks to my soul, I leave the tattered and threadbare unadorned... but mostly, I live to make things! -put a new spin on an old standard; uncover the 'art heart' of a found object, recycle and restyle timeworn finds.  I love to put paint to paper, walls, canvas and furniture. Color it in!  Embellish it up!  Strip it down!  Whee!  I'm drawn in particular to whimsical themes and the thrill of the unexpected.  Second-hand DOGS are likewise my passion. ( Is there is a more profoundly beautiful artistic tome than Berkeley Breathed's  "Flawed Dogs: The Year End Leftovers At the Piddleton "Last Chance" Dog Pound" ? Not in my world, my friend! )  Canine "beauty in imperfection" can be found snoozing  in every stuffed chair and sunny spot at my home studio, The Sit and Stay Atelier.  My dogs are a constant source of inspiration, artistic and otherwise.  And should there ever be a shortage of shopworn chairs needing a make-over - the dogs will happily tatter to order.  The coffee's hot -c'mon over!

art makes me make art makes me. i work in a variety of mediums, reflecting my take on everything from societies absurdities to its beauties. Often I work quickly on impulse and find i achieve my best results this way. In the past i have worked with ceramics, but currently focus on latex painting, drawing, silkscreening, installation, and performance art.

As an artist, I have always been interested by the thin edge between the beautiful and the hideous, the personal and the public, the future and the past. I often give chance the leading role in starting a new body of work. An image, an object, even a line will capture my attention and I will explore its possibilities. I place a lot of importance on the physical and textural properties inherent to the materials I use.

 My current work started from an image I saw in a newspaper of workers in a Belgian rubber plantation at the beginning of the 20th century. I did not know until I came to United States how brutal Belgium had been as a colonial power. Through this work, I hope to show both the dignity of the human race and its horrific treatment of its own, then and now. With this series, I am moving into a more public sphere than usual. Somehow, these ceramic bottles seem a good vehicle for my thoughts.

In a parallel body of work, I am exploring the issue of family history and the impact of childhood experiences on one’s life.