Sculpture
SCulptures
My hands moved from glass to clay because I needed a new way to speak. Years of restoring and building stained glass taught me precision. Clay invited me to think with form. I am drawn to shapes that feel timeless, especially the sphere. Clay lets me build quiet worlds that hold ideas, memories, and questions about how humans live with nature.
Placing your piece
On a sideboard with a lamp that casts a long shadow
On a low shelf where the curve reads in a single glance
Tilted slightly if the interior invites you to look in and see a gold reflection return your gaze
What guides these forms
A single turning line. One edge set firm so the piece feels sure. One edge kept soft so it stays human. I think about stance and breath, and how a shape can feel grounded without feeling heavy.
A scene from the studio
The kiln cools and the piece inside may be exactly what I planned or completely changed. I accept that risk. The surprise can be the best part. I open the lid and decide, in that first breath, whether the new shape carries the feeling I chased.