When we started our studio, the first and fundamental inspiration I drew from woodfired pottery was to strip my work of surface decoration. I chose to work in a white clay with a gas-fired clear glaze. As my glaze work evolved I added layers, obtaining depth and variation by irregularly applying a crackled white slip and a thin celadon glaze to a light colored clay body. My anagama woodfired work proceeded in parallel, recentering my vision towards spareness, always exhilarating me with the unlimited results achievable with a restrained palette of clay, color and roughened form.
As tender human beings we must go beyond exhibiting only assertiveness in our work; we must also represent our vulnerabilities. For me a minimal palette is liberating, enabling the touch of my hand as well as the visual lines and volumes of a shape to establish a physical texture of emotion. As makers and users, we need to combine ambiguity and clarity in the base of a bowl. Dancing amid risk and experience reinvigorates our ability to be creatively attentive.