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In 1997 I moved to a small farm in Indiana to build a kiln and work with the indigenous materials from the land where I grew up. The process of firing clay with wood has been my main focus now for more than ten years.
Firing the multiple chamber kiln for five intense days offers a chance to experiment with local materials, the challenges of physical endurance and builds a sense of community. We use a variety of natural materials, such as cattails and sunflowers, while firing which affect the finishes of the clay pieces. Black Locust trees are native to this area and they give an incredible heat to the kiln as well as our house and studio. The combination of wood ash melting on a clay vessel is very exciting. Local clay has made an intriguing slip glaze, and we've started adding it to the clay body.
The functional forms are a demanding challenge to develop as each kiln load shows so many new surprises. My work focuses on the vessel - both form and function. The proportion of parts are important to the whole. The slope of a handle - the slender curve of a neck of a bottle - elegance and lightness are the words I would use to describe the work.
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