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I grew up with art (and artifacts) all around me to learn from, touch and be influenced by; Southwestern Native American pottery and rugs, Eskimo/Inuit stone sculptures, Minnesota (Mingei) folk pottery and so many antiques. And the artifact, the journeys its' travelled, who used it, held it, and left it behind matters and intrigues me. These pieces leave their mark, a tangible definition of sorts, of who we are, in some intrinsic way.


The ceramics I make are useful, with an expressiveness to it, in the shape or surface treatment or even its quietness. I enjoy discovering what is unique within the ordinary. My pieces are not overly fussy, use broad markings formed by the firing and have muddy, natural, unrefined colors. I am drawn to mid-century design styles and earlier eras of modern ceramics. I am thoughtful with regards to my material and the conversation of what I envision and what the clay will allow me to coax from it. The movement of clay is so responsive and there are so many parts to blend together to craft a single piece. The thinking and tactile is imperative, ‘talking with your hands” could be no truer to me, as I see pottery as communication.


I have a dozen notebooks full of ideas, sketches, notes on pieces to be made, techniques to try and master, inspiration, photos and lots of drawings, I usually start here, with many of my thoughts kept inside on spiral pages.

And I've decided there is never enough time to make all the things I want to, but that the journey of making is just as important.

The essence of craft is bound to the hand, to the process of working, of making and being appreciated. 

Ceramics is very collaborative at times. It offers direction and exploration and is endlessly creative. I consider myself a maker and potter.
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