I use a method of construction known as “slab-building.” I use paper templates for cutting out various shapes from clay slabs that were rolled to the desired thickness using a slab roller. Once the shapes are cut out, I score the edges, brush the pieces with slip and join them together using a paddle to compress the clay and to form it into the desired shape. When the pots are dry, I bisque fire them for ease of handling when applying glazes.

All my glazes are handmade from raw materials. I primarily work with Japanese shinos and Chinese celadon glazes. Shinos are ancient glazes formulated by the Japanese in the 15th century. Because of their unpredictability, this glaze can transform into hues of blacks, grays to reds and oranges. Celadons are also ancient glazes that belong to a family of transparent crackle glazes produced in a variety of colors ranging from gray, blue, yellow to green.

I dip, pour, or spray on glazes in layers to achieve the desired effects. It is a time-consuming process, because I am constantly making decisions right up until the end, thus, infusing my work with a lively gestural quality.

All my work is reduction fired in my propane gas kiln for 16 – 18 hours. When the kiln reaches a temperature of approximately 2381° f, the burners are shut off, the damper closed and the kiln is allowed to cool for 36 hours and then the pots are ready to be unloaded.