Clay objects reveal personal philosophies, technical excellence, sensitivity to material, and process. Also revealed are contexts of tradition and historical appendages.
Objects speak for themselves.
Thoughts evolve into matter, coagulating and hardening into visual patterns. Activities of the mind responding to imprints and superimposed experiences seek definition; order crystallizing out of chaos.
Memory traits bind my vision to Mediterranean art of a remote past of which, conceptually and creatively speaking, I am part of. Thus images I seek synthesize this connective line of visual elements with aesthetics of dislocation, more attuned to contemporary directions.
I began my formal art studies (Ceramics, Painting, Sculpture, Drawing) in 1954 at the Art Institute of Florence, Italy after receiving a diploma in Painting in 1953. At that time, the Institute encouraged a sculptural approach to claywork so I began to build hollow forms in the manner of the Etruscans. I made many of these pieces that were mostly between three and four feet tall. In 1957 I studied wheel-throwing under the skillful hand and discerning eye of Olea Davis (former President of BC Potters Guild).
I have been involved in Ceramics as an artist and teacher ever since.