My current work seeks to perfect the very essence of making ceramics by focusing on just clay, water, and fire. The saggar firing process relies on the skill and experience I have developed over forty years to create an environment of combustible materials that will use the fire as a painter uses a brush. Unlike raku firing or glazing, the coloring of a saggar-fired pot occurs from the moment the kiln is lit until the pot has completely cooled.
To accentuate this unique coloring, I use a vocabulary of forms built with a foundation from the traditions of ancient ceramics cultures and then honed with my intuitive understanding of form.
I believe that saggar firing approaches the very heart of ceramics as a medium—the fusion of clay, water, and fire. By eliminating everything that is not these three components, my work unites surface and form.