Process & Practice
Working with clay is both deliberate and intuitive. Each piece begins with a moment of quiet focus, where shape and form emerge through careful attention and hands-on exploration. My process balances thoughtful planning with the spontaneity of the material, letting the clay guide me while honoring the function, form, and individuality of each piece.
Whether creating functional tableware, decorative ceramics, or custom commissions, I approach each project with intention, mindfulness, and respect for the material. The work is shaped by both practice and inspiration, reflecting years of studio experience and the joy of making something by hand.
I work with buff, speckled, white, and earthy red stonewares, sometimes incorporating wild clay, found sand, or coffee grounds. My clay is wheel-thrown or hand built, then trimmed and detailed to develop surface patterns and textures. I mix my own glazes and slips, using oxides to achieve natural earth-tones and subtle variations.
Reclaimed clay from trims or mistakes becomes part of new batches, creating spontaneous effects — unexpected spots of color, lines of contrasting clays, or delicate speckles that make each piece unique.
All pieces are twice-fired in my electric kiln, first to bisque and then to glaze-fire at cone 6 (about 2,200°F), transforming the clay and glazes into durable, one-of-a-kind ceramic treasures.
Making a base… a jar or a teapot in mind.
Throwing cups, off the hump.
Feeling center :)
Image Transfers on Clay, January 2026
Trying something new! Last weekend I explored image transfers on clay in an awesome workshop led by ceramic artist Devin McDonald at Ticonic Gallery + Studios, at Waterville Creates. Thank you, Devin and Jeffrey. Back in my home studio, Frank caught my beaming smile, as I carefully peeled away my applied underglaze design from clay.
The New England Wood Firing Conference, June 2025
at Jody Johnstone Pottery, in Swanville, Maine
In June, as part of the NEWFC, I had the wonderful opportunity to join eleven other talented potters in firing our work in Jody’s catenary kiln. The entire process of glazing, carefully stacking, and firing spanned five days from start to finish. We began by using Jody’s glazes to decorate our pieces, thoughtfully choosing colors and textures. Then, we all pitched in to help as she meticulously stacked the kiln and bricked up the door for firing. We lit the kiln and took turns stoking the fire for three full days, working in six-hour shifts around the clock, until the temperature impressively reached 2,330°F. Two days later, after allowing the kiln to cool completely, we returned eagerly to unload the kiln and see the beautiful results of our collective effort. As the opening was opened one brick at a time, we could glimpse bits of vibrant color and shapes as light gradually filtered in. Once opened, we formed a single line to unload our finished pots. Each piece was carefully passed from hand to hand, marveled at, and then placed on the ground in order, so that we could later observe how how flame, ash, and the kiln’s draw had affected our pots and glazes. I totally forgot to count how many pieces we fired!
What an incredible adventure this turned out to be, centered in clay love, and filled with nature’s wonders, delightful potlucks, music, and the warmth of friendship, truly my favorite things.
Visit The New England Wood Firing Conference to learn more about upcoming events.
The Thinking Hand, June 21 - September 2024
So incredibly grateful to be part of The Thinking Hand at Emery Arts Center. It is especially meaningful to have my daughter’s work shown alongside my own. Learn more about this exhibition celebrating “the by hand ethos of artmaking” here.
