Artist's Biography

CERAMIC ARTS

As my retirement approached in 1999 I thought about some of the things I most wanted to do with all my new free time.  After family, handball and ceramics were next on the list.  My connection with ceramics began in 1960 with classes at San Bernardino Valley College.  During the mid 70s while taking work related classes at Orange Coast College I took ceramic again.  When I stopped in 1977 I made a commitment that I would resume ceramics in some form when I retired.  In 1999 I began again with a night class and have continued to study under numerous excellent ceramic instructors/artists at local schools.  

CERAMIC STUDIES:

San Bernardino Valley College 1960-61

Orange Coast College 1975-1977

Coastline Community College 1999-2002

Golden West College 2000-2001

Santa Ana College 2001-2002

Ceramic Workshops 2001-2002

CERAMIC PERSPECTIVE:

My work has been influenced more so by Asian ceramics than by pre-Columbian, Greek, African and Middle Eastern wares at this time.  Further studies of other cultures will no doubt influence my work.  When a piece comes out of the kiln from the glaze firing I’m like a little kid who’s been presented with a surprise birthday gift.

STONEWARE (SW)

Today potters have access to such a great range of clay bodies and glaze formulas, that we spend a lifetime trying to achieve the perfect blend of form and surface.
All these pieces have been fired to cone 10 or about 2350 degrees F.
 

RAKU

These pieces have been fired in the traditional Japanese 16^th century Raku process to cone 07 or about 1780 degrees F. removed while mature and rapidly cooled in a closed container with paper, sawdust or combustible material to create atmospheric reduction.

LOW FIRE

This area is fairly new to me but I plan to do more pieces in the future.  Generally, low fire clays are bisque fired to cone 04 about 1922 degrees F., and then glaze fired to cone 06 about 1816 degrees F.  The colors are brighter and there’s a wider range to utilize.  

PITFIRE (Sawdust)

Sawdust firing is a centuries old process for unglazed low-fire pottery.  Each piece is burnished with a spoon or polished stone while at the leatherhard state.  The piece is then slowly preheated and transferred, while hot, into a small pit with sawdust, pineneedles or dried cow dung.  After the fuel has caused carbonization on the clay surface the piece is removed.  The surface can then be polished with a good carnuba wax, rubbed with furniture oil or sprayed with a clear fixative.

WOODEN TOOLS

Like many young boys I’ve always enjoyed working with wood.  As a youngster my bedroom was always filled with balsa and hardwood model planes, ships and cars.  Throughout my life I’ve made toys, small furniture and various modifications around the house.  While developing my skills to throw larger ceramic vases, jars and bottles I realized I needed a tool to assist in shaping the piece. While using my first “shaper” some fellow potters expressed interest in acquiring similar tools.  Consequently, I’ve been making “shapers” for interested potters.  I’ve selected various unique hardwoods to make these tools.   

MULTIMEDIA

A couple of years ago I took a stained glass course, which I thoroughly enjoyed, and it occurred to me that I could combine ceramics with stained glass.  I started by throwing the lamp bases then making the shade from stained glass.  My first few pieces have been received well.  

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