I began working with clay in the early 1970s, first discovering the potter’s wheel as a hobby and quickly falling under its spell. What started as curiosity grew into a lifelong practice shaped by repetition, patience, and the dialogue between hands and material. In 1974, I joined a pottery co-op in Berkeley, California, where I became part of a lively and generous community of makers. There, I learned the rhythms of shared studio life—communal kilns, glaze buckets, conversations that unfolded over long days, and late-night firings that stretched into morning.
After moving to Georgia, I became a studio assistant and teacher at the Callanwolde Center for the Arts. My work included mixing glazes, loading kilns, maintaining the studio, and supporting students as they developed their skills. Teaching deepened my understanding of clay and reinforced my belief that the material invites focus, humility, and patience.
I continued my education at the Penland School of Craft, studying ceramics with master potters who helped refine my technique and broaden my perspective. These experiences strengthened my connection to traditional forms while encouraging experimentation and personal expression.
Today, I teach at the Phoenix Center for the Arts, where I enjoy guiding others as they discover the grounding, joyful process of working with clay. My current work is rooted in traditional vessel forms, particularly tall jars and basket-like structures. I often incorporate rattan and driftwood, drawn to the contrast between fired clay’s permanence and the natural impermanence of organic materials. This interplay continues to inspire me, reflecting strength and fragility, tradition and play, structure and spontaneity.