I began my exploration of clay through an elective course during my sophomore year at Federal City College in Washington, D.C. in 1968. Forty years later the clay remains as vibrant, intriguing, and demanding as it did in that school studio. Today, I work mostly in porcelain. Much of the work is slabbed, although the wheel still figures in some of the production. Most kilns I open present some kind of technical or design problem. I find this to be one of the most challenging and rewarding aspects of making pots. The results of most firings lead to ideas about where the work can develop tomorrow.

Early on, most of the pots were sold at retail shows, but with the birth of my last child, wholesale seemed to be a better option in that it allowed me to balance all the other parts of my life. I've raised a lot of children, I grow a large garden, and the wholesale means I don't have to be away from home that often. The February Buyers Market of American Craft in Philadelphia is where I take my orders for the year. Galleries and shops from accross the country come to Philly to place orders. This provides a personal contact with those who will actually be selling the work. Each year something new develops. I make a point of moving beyond last year's pots. For me, it is the essence of handmade and being in the moment.

My work is stoneware and porcelain reduction fired ware. Shino, ash, celadon, and copper reds are glazes I generally work with. All of the large platters and jars are green glazed and often waxed and glazed several times. The kiln is fired to 2300 degrees. This past year, I built a second car kiln which is smaller and allows me to fire about twice a month. I'm hoping to salvage hard brick this fall and get to work on a soda kiln.