I too was exposed to Mexican folk art early in my life. I especially responded to the exuberance of Mexican handbuilt pottery, in particular the figurative work in the elaborate tree-of-life candlesticks sold in every village market. Like those trees-of-life, my ceramic work is constructed of many disparate objects. Individual pieces are molded from vegetables from my own garden: beans, peppers, carrots, corn, and gourds. Oyster, clam, and scallop shells are modeled from discards of bygone seafood feasts from the Atlantic that turn up almost every time I cultivate the soil.
I use a variety of handbuilding techniques, including slab work, coil, carving, incising, and press-molding. Each piece is bisqued, then glazed with my own glazes, either by dipping or painting, and refired to 2300 degrees F. The results are one-of-a-kind, waterproof, and weather-resistant. I’ve had many pieces in my own garden for years now, surviving sub-zero temperatures with no problems.
Member of the Clay Art Guild of the Hamptons
Member of the East End Arts Council
I grew up near the border between Texas and Mexico, and Mexican folk art traditions have been a great influence on my work. My mosaic designs are characterized by strong colors, varied components, and a natural flow. First I decide on the palette I will use for a specific piece, and choose accordingly from my collection of materials. The shape of the piece that I am creating dictates the pattern, which evolves as I go along. Usually I lay out part of a design before I commit to gluing down any materials, so that I can adjust if necessary. Colored grout plays an important role in pulling it all together at the end. For me, creating mosaics is a lot like quilting: I arrange ceramic fragments into new patterns and possibilities to produce usable art. www.mosaica.info
Member of the Society of American Mosaic Artists
Member of the East End Arts Council
