Interview

Why porcelain?

I love its fluidity and the ability I have to create wafer thin objects with it. Getting it to be as thin as possible and creating twists and turns excites me. I love too, how the light plays off its surface.

It was only after my heart and imagination were taken by this amazing material that I decided to learn more about it so that I could take my work in new directions. The fact that it is challenging to work with and prone to calamity are things I am glad I wasn't told early on.

Over time, I have learned its peculiarities by becoming intimate with it and now understand, respect and cater to its uniqueness.

Why white?

I love the purity of white, but I also think white is the best color to let the light play off the shapes. And, practically speaking, it can work with almost any decor.

What are the origins of my shapes?

My pieces recall the forms and motions of flowers, sea plants and ocean waves. I had no plan to do this. It is what came naturally to me as I worked each piece of clay. My first hand-formed bowls, tiny as they were, one inch in diameter, recalled flowers. I still create what I call tiny blooms, but now I work mostly creating large florals and wall sculptures.

I live in a place where the ocean and a beautiful landscape woven with gardens and a rocky shore have become part of me. And my love of both the sea and lush gardens now come through my hands and into my clay.

What is the process?

Smaller works take two to three weeks to complete, while larger ones can take four to seven weeks.

While I use just one simple metal tool to help me perfect my shapes, my favorite tool is my hand.

To me, each ball of clay is a unique, unpredictable entity, and so often, my turns and twists are done only with the its cooperation. In essence, I work along with the clay, working to move it to its full potential as an object of art.

With raw porcelain, no shape stays where I leave it. Imagine working with dough, where you flatten it, smooth it, and then try to bring it up into a form.  I prop every single move with handmade concoctions that hold the direction. With pure porcelain I  have to create layers and layers of covers so that the piece can dry evenly without cracking. As days pass, I slowly remove layers of covers until none remain.

Once it is bone dry I dab my fingertip with water and slightly soften the outer layer and then use a blade to gently perfect the shapes. Any pressure at this point in the drying process can cause a piece to shatter. 

Once that step is complete, it goes into the kiln for two days. When it is cool, I begin the glazing process.

I hand brush three coats on each piece, with two to three hour intervals between coats. Two more days in the kiln for a final firing, and the piece is complete.

Every single step that gets to a completed work is a new adventure and an indescribable joy in my life. 

I welcome you to contact me to discuss a special request, or to make a purchase. 



SPECIAL COMMISSIONS

* London House Hotel, Chicago

* AC Hotel by Marriott, San Juan, Puerto Rico

CURRENT EXHIBITS:

Online:

National Association of Women Artists online show June 1- August 1, 2017. Work juried into the show: Empress of the Garden.

 Boston:

Webster & Company, Design Center, Boston 

Charleston, SC:

Ella Walton Richardson Fine Art

North Carolina

HG Arts

Recent & Past Exhibits:

In Boston:

Liquid Art House, Boston (through April 2017)

The W Hotel, Boston (through April 2017)

In Florida:

Galerie du Soleil, Naples, Florida (thorugh April 2017)

National Association of Women Artists online juried exhibit, "A Sight for Sore Eyes"  for sculpture titled, Bouquet D' Or October 10, 2016-January 1, 2017

The Copley Society of Art Nov. 12-December 26, 2016

Copley Society of Art, Beyond the Shore, 2016

National Association of Women Artists exhibit at Endicott College, " Breaking Ground", June 17, 2016-September 17, 2016

Endicott College, "Transformations. Beauty. Color. Form,"  January 25- March 25, 2016

ArtHouse429, West Palm Beach (November 2015)

Cate Charles Gallery, Providence 2014 - 2015 

The Liberty Hotel, Boston

Thomas Moser Showroom, Boston

Masterpiece Gallery, Design Center, Boston

Brenda Taylor Gallery, Manhattan

Paradise City, Marlborough, MA.

NOA Gallery, West Concord, MA

Wenniger Gallery, Rockport, MA


PRESS:

Architectural Digest October 2016

Cambridge Art Association

Indiewalls Blog 2016

Boston Globe January 2014

Boston Globe, February 2016 

Ceramic Review, (online) October 2015

The W Hotel Press

Veranda Magazine, March/April 2015 


Connecticut Cottages and Gardens, November 2014 Arts Issue*

Garden Design Magazine (online) 2014

Trend Hunter 2014

Designer Krista Watterworth

New England Home Magazine (online) 2012

Cape Ann Magazine 2013

Style Carrot 2013

House Beautiful Magazine 2012

Chosen by CTC&T Editor Ann Loynd as one of 25 American artisans whose works "Celebrate the highest craftsmanship the industry has to offer."


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