Several years ago and after a long pause and successful but unrelated careers, I returned to working with Mud (clay, porcelain, stoneware) and other raw inorganic materials used in the creation of ceramic work. I am based in Minneapolis, MN and feel fortunate to be surrounded by a rich and diverse community of ceramic artists, studio potters and other artists using a multitude of mediums.

My introduction to playing in mud was in high school, but it was at Texas Christian University in 1979 that I really began to explore the diversity that ceramic art offered, and to glimpse my potential as a ceramic artist. While studying under Richard ('Dick') Lincoln, I was lucky enough to be part of the team that transferred the ceramics department into the new 'state of the art' Moody's Communication and Arts building in 1981. This exposed me to more of the technical side of running and maintaining a ceramics studio. After college, I apprenticed under Harding Black in San Antonio, and assisted in the establishment of the ceramics department at the San Antonio Art Institute (SAAI). While working with Harding, I learned about clay bodies, glaze materials - formulation and testing procedures, as well as firing methods and cycles. The SAAI, which was built behind the internationally renowned McNay Art Museum, was intended to be a 4-year accreditation program. Unfortunately after several years, it was subsequently closed and eventually dismantled. But during SAAI's inception, I was able to work closely with the ceramics program head - Lewis Turner. I assisted in the construction of both a soda kiln and a raku cart kiln, regular kiln firings (gas, soda and electric), and performed general facility maintenance and upkeep. During all of these periods, I was able to explore and expand my own personal relationship with mud.

To this day, I remain seduced by the, the tactile nature, the involvement of all of the senses, and the unlimited spontaneous opportunities and adventures that creating objects in clay, porcelain or mud represents.  While I try to give a gentle and respectful nod to traditional forms, processes, and the work of my predecessors and teachers, it is the momentary tension and fluid relationship that exists between my creative intent and tangible execution that is captured in the work that I strive to create. I favor surprise and discovery over methodical planning.  This loose but yet still purposeful process is continued through the firing processes.  Ideally, the combination of the unpredictability of atmospheric firing - high fire reduction, wood and soda, raku and pit, with unique forms and concepts, provide an opportunity to produce one of a kind pieces. Pieces whose primary function is art.