I have enjoyed working with geometric patterns since childhood. The dazzle of hard-edged designs bathes my eyes, and decorating pots that give this effect satisfies me greatly.

I have studied pottery in museum, university and art school. As a child, I went with my grandmother to an exhibition of Op-Art that blasted with variations of black and white hard-edge moving patterns. I think my strongest influence has been the native arts classes I took in Idyllwild with various native american craftspeople in weaving, silversmithing, and pottery design. These classes confirmed my interest in surface decoration, and it was from them that I leaned that making art is a continuring process, rather than a product-making activity. I spend many hours a week cribing and carving patterns into the surfaces of pots.

As I continue to study pattern styles from all over the world, I gravitate toward femal crafts such as batik, quilting and basket makning and the pueblo pottery design. These process-oriented crafts have in common a continuous and extensive investment of time, as well as the need for careful hand skills. As I stretch designs inspired by various crafts over the curved surface of the pots, the patterns are enhanced by a new element - that of distortion.

Like many potters, I am aware that for better or for worse, the pots I make may last for hundreds of years, becoming a part of the record of our culture, as well as my personal expression. It makes me feel a real responsibiltiy to do my best work - to please my self and any who choose to include my pots in their homes.

Art Minor, University of Chicago
Diploma in Ceramic Design, Caufield Institute, Melborne, Australia