I strive for a meditative calm where there is tension between action and inaction, formal and fun, and where serenity and grace reside in the subtlety of form and surface. I choose a somewhat minimalist composition where slight variations of line and color are amplified in their significance to the overall quality of the work. The detail that is present is not intended to be obvious, but, instead, is meant to reside quietly and thereby both surprise and delight the viewer who takes the time to look at or to use the vessel.

As I work I find myself focusing on lines -- from straight to beautifully arching curves and on the meditative rhythm of repeating lines. I am interested in how manipulating lines can transform degrees of volume as well as the interaction between a strong profile and a liquidly sensual surface. My color choices both enhance this tension between the idea of fluidity and stillness and yet also impart vitality and grace. Ultimately, my attention to craftsmanship and my dedication to precision guide my thoughts and the resultant pieces from awkward lines to elegant forms.

My visual vocabulary includes the history of ceramic vessels especially Chinese Tang and Song dynasty and English and French fine chinaware, the draping nature of fabric, and the refinement and workmanship of pure silver dinnerware. In addition, I appreciate architecture as a study in form and classical proportions.

I have created a body of work that is soft and quiet though provocative and appealing; one in which beauty resides in the elegance of the forms and the gentle serenity of the surface variations. I intend my work to speak volumes but to do it softly. This may trigger in the viewer a quiet experience or it may serve as the reminder of a quiet experience. Either way, my work strives to be both an illumination and celebration of the small, subtle details of our daily lives.