Creating in clay is an integral part of my daily life. Inspired by the shapes of the human body, our land, and geometry, I seek to express thoughts and feelings best transmitted visually.

I was born in Washington, D.C. where my father worked as a draftsman, but soon moved to Silver Spring, Maryland. There I remember him sitting in an easy chair modeling small things out of locally dug clay. He died when I was nine and to support us, my mother took a job as a research technician for the Armed Forces Institute of Pathology. These were my earliest influences in art and science.

After earning a science degree at Trinity College in Washington, DC, I worked as a chemist at the National Heart Institute in Bethesda, Maryland. I married and became a stay-at-home mom who escaped periodically to take art classes at Catholic University where I studied with Nell Sonneman. After moving to south central Pennsylvania, I continued my art studies at Millersville University and studied clay with John Ground.

As a studio potter I made functional pottery, which I sold at craft shows. During this time I briefly studied with Robert Turner at the Penland School of Crafts. From Bob I learned that every piece I make is a spiritual journey. Gradually I started experimenting with sculptural forms. Technical difficulties led me to take workshops through the Pennsylvania Guild of Craftsmen with ceramists Bill Daley and Lisbeth Stuart.

The surface characteristics of reduction-fired stoneware have always reminded me of precious and semiprecious stones, and the more I worked, the more I wanted jewel-like colors and varying textures. I used my chemistry skills with each new firing to test glazes for different textures and more color. As I developed new glazes, I realized they worked better on sculptural work than on my functional pieces.

When hand building with soft slabs, I want to maintain the feeling of the initial softness of the wet clay in the final form. Contrasting organically curving front surfaces with geometrical shapes, I make hollow three-dimensional box forms to hang together on a wooden backplate.

When assembled into a wall hanging, the surface facing the viewer looks painterly, sculptural, and both continuous and discontinuous.

My sculptural path led through an exploration of rectangles, right triangles, isosceles triangles, and sections with convex and concave edges, followed by an "invasion" of the module by opening up its center. This journey started my square within a square series. Early in this series, calculating the dimensions of the inside hole of the outside square left a large gap between the outside and inside square. Thus began my focus on the space in between each module. Currently I'm fascinated by the visual play of these interstices with the piece as a whole. (Read my resume.)