When working with clay, I seldom began with a defined direction. Most of my work was experimental which means that I didn’t stay with one direction long enough for my work to be identified as my signature. I would start a project one day, and deviate the next, going in a different course.
The work of my peers inspired me to try other avenues of technique when working with clay. For example, I may have begun creating a sculpture one day, and the next, I could find myself sitting at my wheel throwing mugs. Other days could see me fabricating a mold that would allow me to create the perfect bowl form. Or I may find myself working with my brushes, allowing my inner self to push the boundaries of the three-dimension form that was on my workbench in front of me.
I wanted to gain recognition for my efforts, not necessarily for monetary gain, but for the satisfaction that I created something that the public enjoyed and wished to own. I made art for the joy of filling the world with objects that I created, and that I felt were beautiful.
As a visual artist who slipped in and out of the functional world, I continued to research the experimental glaze arena, dabbled in the painting process, and played in the modeling and sculpting disciplines. Each day, I allowed my feelings to decide where I would go with my art, and what a fulfilling journey it has been.
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