Andre Gide says, "Pay attention only to the form; emotion will
come spontaneously to inhabit it. A perfect dwelling always finds an inhabitant."
Emotion fills me when I see perfect forms in nature,
from the cracked conch shell on the beach revealing its perfect spiral,
to the milkweed pod burst in the field, its brilliant airborne seeds
streaming into the sunlight. The ordered symmetry and asymmetry of
nature's forms reveal the growth of life, the movement of life.
Living on Martha's Vineyard, island time, especially in
the winter, seems to conform to nature's cycles. As a potter, I strive
to make my work reflect the balance of life around me. It is important
that the patterns I see around me are integrated into my forms.
I use a translucent porcelain body because it has a
beautiful surface, and it conveys the qualities of light and shadow that
I wish to express. After throwing my vessel on the potter's wheel, I
alter the form to set up a movement of soft shadow. When the porcelain
is leather hard, I carve patterns to add energy and counterpoint. I fire
my work to cone 10, where the porcelain becomes non-porous and
Some of the finished pieces hold elusive glimpses of the
balance between the convex and the concave, and light absorbed and
reflected. In further exploration, I marry the fine porcelain with the
ancient art of gilding. The 23 carat gold leaf illumines the interior
of the vessel, to reveal new curves and patterns.