Drawing influences from traditional American folk stonewares, Korean inlaid porcelains, medieval English forms, Japanese Haniwa architectural forms, to Chinese and Japanese tea wares. Also in the mix are sculptural concerns from the modernist, cubist and futurist art movements.
One of the driving forces for me is in the pursuit of beautiful, intriguing, glazes and surfaces that speak of the awe that I experience in witnessing the natural world. Stones, leaves, water and fire, all inform the work, and I find it most fascinating when the work speaks not of me, the maker, but of the forces of nature that are present in the depths of the glaze.
I have always found delight studying and in making work that has at its roots a tradition that is not easily seen in practice today. The act of making work with the same tools and motions that would have been used centuries ago can give one a sense of what these people might have experienced, at the very least on a tactile level. I cannot experience the cultural context in which these historical works came into being, but I might glean some insights into what those who made them might have felt.
My grandmother encouraged art making as long as I can remember, and it is her I credit with being one of the main reasons I have survived as an artist this long. She gave me my first watercolor set and never failed to support the notion that I could be a success in the arts.
After early explorations in painting and photography at the School of the Museum of Fine Arts, I chose to focus exclusively in clay. By sheer luck, I was blessed with cheap rent for many years in a rough section of the south end of Boston, (now extremely fashionable), and was able to polish my pottery chops while working as a bicycle messenger. Many pots later, I spent a fall concentration at the Penland School, and was then deemed ready for graduate study.
Cranbrook Art Academy was an ideal springboard for my work and myself. My time there showed that through extensive studio work, critique, and exposure to many great clay artists, a wider range of possibility.
1990 brings me back to Boston, a teaching and technical job at the SMFA, a studio residency and teaching at Mudflat Clay Studio. A decade of teaching made me a better potter. I acquired the skills necessary to build kilns and start my own studio.
In 1999 my wife Laurel, and I moved to Parsonsfield, Maine and established Cedar Mountain Potters, where we produce one-of-a kind, functional, and sculptural clay art. We fire our work in gas reduction, salt, and wood-fired kilns.