Descriptions page 1

Rather than give a description of each item,
which can become very repetitious since often
times the process is so similar from one piece to
the other, my descriptions will be general unless there
a special feature of note.
When I refer to a particular piece I will use my letter and number
system. The numbers at the top can be cross reference with the letters on the right side. For example 1a is the first piece
shown on page 1 in the uppermost left hand box.

I use 2 basic methods of making the pottery and sculpture and all are within what is called an earthenware or terra cotta clay type which signifies the kind of clay used and the temperature range it is fired. The 2 distinct methods are pit firing and modern or American styled raku
The main decorating techniques I use would include highly textured clay, glazing, staining, naked pottery, and horse hair burns with the addition of numerous other specialized techniques that may seldom be repeated.
Construction of pieces is done by either wheel throwing, slab building or coil building.

The clay I use is considerably different from what might be the case with most potters in that I dig it myself and process the raw clay so that it is usable. This local clay only needs some gravel and debris removed thus there is nothing commercial in the mix. It is also the same clay various Indian tribes would have used when they lived in the area though most would have added crushed clam shells. Most potters today use clays that are mined and often in specific mixes from commercial suppliers. Refer to the video on the ceramics entry page of this website to see some of the process I do.

My philosophy of making ceramics is to let the process take it's own turn, or "let happen what happens" and use that natural happenstance so that it has as much or more control of what the finished piece looks like as I have. If something is damaged in the firing I do not throw it away, I try to find other possibilities than what I had initially planned and let it change, in most cases for the better. I do not spend much if any time with things like smoothing surfaces because I like the textural contrasts of finger prints, scuffs, lack of symmetry or a glob or splatter here and there. If a piece gets broken I glue it together again and often times exaggerate the break (3b). In addition I may intentionally break a piece so it shows the repairs which may give it the look of something found in an ancient campsite or burial mound. 
It might be summed up that I look for ways I can utilize things that are simply how nature does it and thus are somewhat primitive or primal. One of my art teachers had a term he used for something like what I am trying to tap and that was "modern primitive". It's self explanatory.
I do not duplicate any of my work. Each item is completely a one of a kind.

As you look at pieces they are:
Glazed; Raku fired which often brings out metalics or patina that is iridescent. 5 and 6 c
Raw clay; These are the reddish pieces that are usually stained to enhance the texture of the surface. 2a
Slip coated; The body of the piece is my raw clay but the surface is coated with a 50 50 blend of feldspar and ball clay so that I have a white or tan base to work with in pit firing or smoke decorating such as using horse hair. 1,3,4,5,6 a
Stained; I use a wide range of staining methods from metal oxides used as a wash over the surface to mixes of coloring materials painted on for designs. 1a. 1b, 4b, 14c

Notes:
Due to the radical firing process of removing hot pieces from the kilns, such as Raku shown on the main page video, none of my pieces are water tight. They are not made for any use that requires they hold liquids.
The metallic finishes achieved in the raku process may not withstand exposure to direct sunlight. As with any artwork they should never be left in a window or used outside. The colors can fade. However, placed correctly within a home they will last equal to most other fine art.
Pieces can be cleaned with a damp cloth and at times rinsed VERY quickly BUT should never be left for extended periods in water. The surface is initially very porous thus extreme wetness can weaken the structure and damage the finish. Never!!! use detergents or do any rubbing on the surface ... especially to smoke decorated ware like the horsehair or pit fired.

If you have any questions on a piece feel free to ask by email or a phone call.