Originally from Chicago, I moved to the Bay Area in the 80’s after earning degrees from the University of Illinois, Urbana and University of Chicago.   Although I’ve been engaged in creative pursuits in one form or another all my life, my career as a full time artist started when I discovered clay. Initially my work was wheel thrown,  but now most of my pieces are built out of hand-rolled coils of clay. My studio is located in the wine country of Northern California. My work is in private collections across the country.


I am an artist who is in a committed relationship with clay.  The intimate nature of the alliance I’ve forged with this organic, malleable material can seem one sided at times.  More contact sport than harmonious connection, I am always paddling, squeezing, pulling, pushing, rubbing and daringly testing the elasticity of its skin.  But faithfully, clay usually responds with an integrity and resilience that lesser materials would not when totally consumed by heat or fire.  And whether it ends up being decorated in muted colors, a reflective, dazzling shimmer or left in its natural state, it always seems to carry some of the residual energy of this very physical practice.  Such is the medium of clay.

The creative process calls for disciplined self expression, and the problem solving required when constructing in clay happily engages both sides of my brain.  My focus is on the intersection of physics and aesthetic design.  Will my creative vision hold up in space even without armature?  Will the negative space, the curves, the shadows, and balance I worked so hard to achieve survive the heat?  And finally, will the piece engage the viewer?  These questions complement the blissful state of flow I otherwise experience when creating in my studio.

A series begins from a place of improvisation and impulse rather than an intentional reference to the external world. It isn’t until I complete a piece or two, that I see a suggestion of a memory, a thing or place.  The rest of the series is then dictated by a few of these discoveries and associations. Although many of my sculptures have often been described as abstract, dynamic, organic and often anthropomorphic, reference to the body is never my intention.  Oddly, it just happens.