An important aspect of all my sculptural work, teapots included, is the way forms relate and flow together. I am constantly combining and simplifying to enhance movement/ rhythm/ unity. My teapots are informed by historical examples– Inuit carvings, Pre-Columbian ceramics, African sculpture. To some extent Japanese netsuke carvings and Yixing teapots have also been an influence. I admire the concise vocabulary of these pieces, their use of everyday life as subject matter, their compact forms and their straightforward but unique way of relating figurative elements. In much of this work, the traditions of sculpture and function come together in a way that transcends ordinary ornamentation.

I make teapots in editions — each is a numbered edition of twenty-two or less. The iron-red clay is fired to vitreousness, i.e., the clay particles have fused to the point of being impervious to water. No glazes are used or needed. The satin-smooth surface results from multiple sandings at several stages of the teapot making process.

Bird in Hand
Elephant Rider
Elephant Runner
Fish Rider
Happy Potter Sake Set
He / She Teabowls
High Stepping
Leaping Lady
Mermaid & Dolphin
My Sister, Myself
Pleasure That Burns
Proud Catch
Proud Catch II
Sitting Pretty