In the quiet of the night I work the clay, shaping it into forms with my hands: teapots, bottles, platters, cups. This is what I do with my time. The days become years and I find myself still firmly anchored in my dedication to clay. Circumstances in my life change from day to day, but clay is the constant. There is life in the clay; it awaits me to give that life form.

I primarily handbuild, sometimes using various drape and hump molds, in additon to throwing. I focus on glazes and glazing, utilizing wax resist techniques and multiple layers of glaze and pigments. Currently my work is focused in two areas. One is the integration of natural flower forms on platters, exploring painterly issues with clay and glaze. The other involves the probing of bottle and teapot forms and the relationship of surface to contour. I have been a full-time studio potter for twenty-two years.

I am interested in the perpetual journey that working with clay provides. Historically the question of why an object is declared beautiful is contingent on the cultural definition of beauty. Why in some cultural-historic periods are simple pots recognized as ART and in others the same simple pot considered in the diminuitive? Making clay vessels is my philosophical journey.

Teaching has become a part of my journey. After working undisturbed in my studio for fifteen years I began teaching ceramics at The University of Texas at Tyler in 1992. I am dedicated to providing the best learning environment that I can. I want to challenge students to think of art in a cross-cultural way. Although much of my training was as an apprentice in a workshop, the university offers a fertile ground for learning the ways of art. The university system is a valid environment for the study of art.

Most of my work is wheel-thrown, decorated with sgraffito or brush work. Other interests are kiln design and construction and firing methods. I am currently serving as Guest Editor of Studio Potter. Topic: Alternative Perspectives on Bernard Leach.