Step into  StepOut Pottery…

I love clay. Getting dirty, losing time in pursuit of a pleasing form, melding form and function, finding the balanced integration of color and design, the satisfaction and sometimes disappointments of opening the kiln are all part of the lived experience of a ceramic artist that I love so much. We all have many identities. I have had a professional career, a family, and even other artistic outlets. The identity as a ceramic artist is one I cherish. The aim of my work is to bring to the viewer the feelings of  both seriousness and joy of a purposeful life. 

I’ve likely become a 3D artist because I simply can’t draw or paint. Yet, in clay, I found that I’m able to translate the images in my mind by feeling my way, literally. It was such a release to find a medium of expression for my inner world. Clay is very maleable, of course, but it’s also exacting. The chemistry involved in understanding glazes or the interactions between the materials and heat has a scientific aspect that allows the inner nerd some satisfaction. Still,  outcomes are often also unpredictable, or at least not completely controllable, allowing for surprise and spontaneity. 

I have been an adventurer in my pursuit of becoming a ceramic artist owing a lot to several highly accomplished teachers (Maria Root of Primitiva Pottery, Sandra Farmer at Salty Dog Pottery, and Rupa Palasamudram) who taught me and encouraged me. My exhibits at Whidbey Art Gallery are a “coming out”, my first forey into making my art public. I’m really happy about this. 

Sculpture

When I sculpt, I’m most drawn to the human form, faces and torsos. I’ve experimented with various finishes such as pit firing or using an encaustic surface treatment to achieve different effects. Pit firing is a process that involves applying common household products like Miracle Grow or a copper scrubbing mesh to a once fired piece, wrapping it in layers of newspaper, and then firing it in an open air fire pit and smoldering it. The result is a rustic, very organic appearance that I find soothing and close to nature.  

Encaustic, involves applying layers of hot, sometimes pigmented beeswax onto a unglazed, fired surface. The wax gives the clay a depth, sheen, and skin like feel that invites a person to touch or stroke the sculpture. Since my subject is representation of human forms, I like the interaction encaustic surfaces encourages between the viewer and the piece. 

Functional ware. In the very, very long tradition of humans in all parts of this earth using clay for daily life tasks, there are so many beautiful pieces that have been made. It’s hard to improve on this.  So, I try to make each piece special in some way. We live among mass produced, perfectly formed objects created by machines. That is now what’s common. But, what is hand made is full of beautiful imperfections if it’s done well and with care. So, I spend a lot of time carving my pots to give them personality. I love it when the glaze color and texture fits the form and function of the object. I’m trying for this complementarity in all of what I make.