This vase comes from a series that marries sculpture and function, beautiful objects with functional elements. Each is meant to stand alone as sculpture, hold a big bountiful bouquet, or (the middle ground) highlight concentrated but stunning arrangements while showing off some of their own beauty.

The bottom half of this vase is handbuilt using pinch and coil techniques. The arches are made by rolling a small coil then cutting into short lengths and pinching and forming, similar to the way my handbuilt handles are made. They are essentially mini handles. I make a lot at once, more than I will probably use. That way I'm able to pick the cream of the crop when I actually get to assembling. The arches then get shaped, scored and slipped very well, and go on layer by layer. I don't blend the connections but rather leave the seams open to the eye. Once the vase has dried completely, it gets fired and finished with a satin white glaze.

This vase measures 8 inches tall by 6 inches wide.

I love this pattern because it is at the same time quiet and bold, subtle and graphic. The mug and pourovers are handbuilt with white clay and each dot is stippled individually with a paintbrush. I love how the black underglaze "moves" during glaze firing, creating some shadowing under the dots.

I love these patterns because they are at the same time quiet and bold, subtle and graphic. The bowls are handbuilt with white clay using slab and pinch techniques. Then each dot is stippled individually or each circle is applied with a brush. I love how the black underglaze "moves" during glaze firing, creating some shadowing under the marks.

The decoration on this serving bowl is made using a process called mishima. After the bowl has been completely formed and is hard leather hard, I use a very thin needle point tool to scratch the scalloped border. Once I have drawn the whole design, I load up a brush with black underglaze and paint over the design I have scratched. After the underglaze dries on the surface, I use a damp sponge to wipe excess off the surface. This leaves underglaze laid only into the design I carved. The bowl is finished with a simple clear glaze.

I love how graphic the line work ends up after firing. The clear glaze moves the black underglaze a bit, leaving a surface that reminds me of a monotype print.

The decoration is made using a process called mishima. After each bowl has been completely formed and is hard leatherhard, I use a very thin needle point tool to scratch my desired design into the surface. Once I have drawn the whole design, I load up a brush with black underglaze and paint over the design I have scratched. After the underglaze dries, I use a damp sponge to wipe excess off the surface. This leaves underglaze laid only into the design I initially scratched. The bowl is finished with a simple clear glaze.

Red clay, subtle white glaze breaking over the edges and dips in finger prints, a simple scalloped edge. I make serving bowls like this to highlight the objects places inside them.

This bowl is handbuilt using pinch and coil techniques.

The tulip and greenery decoration is made using a process called mishima. After the bowl has been completely formed and is hard leatherhard, I use a very thin needle point tool to scratch my desired design into the surface. Once I have drawn the whole design, I load up a brush with black underglaze and paint over the lines. After the underglaze dries, I use a damp sponge to wipe excess off the surface. This leaves underglaze laid only into the design I initially scratched into the surface. Then, I use underglazes to fill in color where I’d like and finish with a simple clear glaze.

I love how graphic the line work ends up after firing. The clear glaze moves the black underglaze a bit, leaving a surface that reads like a monotype print to me.

These ring dishes are each pinched from a small ball of white clay and finished with a clear glaze. Once they’re out of the glaze kiln, I use a brush to apply liquid gold luster in the checked pattern. I love how the gloss of the clear glaze is one upped by the unbelievable shine of the gold luster.

Each ring dish is pinched out from a single ball of red clay. I then add a foot ring, let the work dry, and coat in a layer of white slip. When the white layer of slip is dry, I add the fields bright chartreuse or darker green. Once all these layers have semi dried, I go in with a ball point carving tool and define each set of leaves. This all happens before the first firing, the dishes are finished with a layer of clear glaze.

This platter is handbuilt with red clay using slab techniques, then altered to create the scalloped edge. When the platter has dried bit, I paint the surface with white slip. I use a ball point tool to and carve through the slip to create the smaller scallop design. This is a process called sgraffito. The platter is finished with a clear glaze.

I love this pattern because it is at the same time quiet and bold, subtle and graphic. The platters are made from slabs using white clay and each dot is stippled individually with a paintbrush. I love how the black underglaze "moves" during glaze firing, creating some shadowing under the dots.

This tray is handbuilt using slab techniques. After the clay has become firm and almost completely dry, I use a sharp needle point tool to carve the tulip design. I then paint black underglaze over the surface and wipe a damp sponge over it, leaving underglaze in only the carved lines. This is a Japanese technique called mishima.

After the first firing, I add the subtle white dots to the background and the coral color to the tulips. The tray is finished with a clear glaze.