My Process

One constant in my work is the process of pushing terracotta to its limits structurally by exploring a mosaic narrative that rests true with the surface of the wet clay. In this technique, the clay is an unwilling opponent.  There is a competition with the clay once I begin adding tile in the fragile stages of the drying phase.  I began this experiment in 1990, after a 3-month trip hitchhiking in Europe. Experiencing the Roman mosaic of Ravenna, Rome, Naples and Sicily were inspirational, and I pursued a contemporary way to build this ancient technique onto my clay surfaces. By trial and error, I found a surface technique that still challenges me today.

The vessel forms are simple, to allow my surface experimentation. Each finely cut tile is integrated into the damp surface by paddling gently and allowing a slow process of drying once embedded. The greenware is fired between 1940-2000 degrees. The fired terracotta acts as the interstices between the tiles. The shrinking clay around the tile is similar to pressing a bezel around a gemstone.