Deer Park, Washington
Email: [email protected]
Studio visits by appointment only: 509-276-5938 [email protected]
When I was big enough to hold a pencil, my maternal grandmother showed me how to draw dogs, cats, babies and houses; I loved it! I really began to be serious about drawing when I was about eleven. Summer afternoon walks to the nearby library found me in the horse stories section; I brought back as many books as I could carry. Then, I spent hours lying on the lawn in the sunshine, drawing horses and dreaming about owning my own horse someday. That dream did eventually come true, and so did my other dream of becoming a professional artist.
I juggled marriage to a wonderful guy, raising two great kids in the country, and the varied work of a graphic designer and screen printer, solving problems and bringing clients' ideas to life. After twenty years, a change in career path led me to college where I enrolled in fine arts classes; it was time to find my God-given artistic voice. I loved my time in each college class, but it was in the ceramic classes where a life changing discovery awaited me: working in clay brought together all of my creative skills, passion and past experience. Drawing, painting, 2-D and 3-D design, model building, color theory, texture, pattern, various printmaking techniques and, especially, playing in the dirtâ€”are all part of working in clay.
My art journey has influenced the choice of handbuilding as my preferred technique for creating sculptural and functional clay works. The process is enjoyable and contemplative. My will isn't quickly imposed on the clay; the clay and I function cooperatively. I may have a defined goal at the start of a project, but it's like that wonderfully responsive material asserts a â€œmind of its own.â€ Clay surprises me in a way that is comparable to finding buried treasure!
As a kid, I was always filling my pockets with little found treasures wherever I happened to be. That habit of collecting eclectic curiosities is something I've never outgrown. Found objects of all kinds are important studio â€œstuff.â€ They may become the inspiration for, or even an ingredient in, a new piece of art.
Often the objects I now want to collect are much bigger than pocket-size, so I make clay impressions from them to bring back with me. Capturing the swirly patterns from the asphalt shingles on a century old barn in Maine, the gnarly bark of the neighboring maple tree, and a patch of peeling paint on a historic church was so much fun! Those impressions became not only my favorite vacation souvenirs, but are also tools that I use for creating other works of art.