In 2006, I moved to Taos, New Mexico from Colorado to help create a ceramics community.    This included a summer workshop program, two residencies, ongoing classes and variety of firing possibilities.    in 2014 I handed over Taos Clay and I am currently pursuing making full time..   Taos Clay helped me draw in ceramic artists from all over the world and has been the majority of my education and background in ceramics.   It takes a community to fire many of the kilns we have built around Taos and Taos Clay has been a vital part of keeping the ceramics community aware of the trends of contemporary ceramics.   i show the majority of my work. out of my home show room located on the the road to the ski valley in Taos New Mexico.   I  showcase my work in hotels, galleries, boutiques and restaurants through out the United States,   The majority of my work is showcased in these settings however, to have a direct relationship with my collectors i do sell directly through my website..   The intention of my website is to not only create an avenue to sell work directly to my collectors but, also share my story of creating a life as an artist, father and avid outdoorsman in rural New Mexico.    Please visit my daily photo blog or if you have the opportunity,, make an appointment and come visit me in my studio in Taos, New Mexico. 

 


Ceramics is a medium that requires patience and experience.    In no other craft is the artists up against so many variables.    The clay and the firing process are constantly educating and opening up new challenges.    Working in clay has been a meditative, grounding journey.    It is humbling yet, rewarding. You are an alchemist trying to recreate and refine the elements into something functional and inspiring.

 

The majority of my work is influenced by where I live.    The high mountain desert of New Mexico inspires my color palette,  forms and  structure of my vessels.    I am constantly trying to incorporate native materials.    I work atmospherically;    Instead of glazing my work, I introduce or fire with wood, salt and soda to mark the work in a more natural aesthetic.   I believe less is more and,   I am constantly trying to showcase the inherent beauty in the object....  based upon its composition, weight and balance     The majority of my kilns are located around my home in Taos but,    I fire in a variety of wood kilns around the United States. 



In our temporary existence,     objects that help us relish life take on the greatest importance.    I want the collector of my artwork to cherish his or her piece because,   it helps them slow down and absorb life.   I am also positive that the collector of my artwork will develop an appreciation for the process of ceramic design.    In no other medium is the artist up against so many variables.    The pots I exhibit and sell are the product of countless hours in the studio formulating specific clay, slip and glaze ratios,   as well as, meticulously crafting assorted minerals into a permanent object.    Everything that goes into the finished product has been compressed, glazed and manipulated for a desired affect.

 

However,    my objective is for no pot to look entirely the same.    The clays decision to take on a specific identity in the process of creation is something in which I try not to interfere.    This is what makes ceramics meditative and gives each piece its unique appearance.    The rhythm of the wheel as it turns,   and the constant attention to the looseness of the pots walls,    give way to a thoughtless state that I believe help give each pot its character.     Each piece is like a mile marker of my creativity and opens doors to new ideas and an engrossing feeling to create more.    I respond to the clay differently each time I sit down.

It is awareness; a sense of being that enlivens me to create while simultaneously reflecting.

 

The pottery I create embodies the southwest landscape in its color, texture and material.   I use flashing slips and the atmosphere of the kiln in order to integrate the viewer with the connection between the pot and its composition.    Each piece of art is made entirely of the earth’s materials.    I want the collector of my work to have a deeper sense of this connection by identifying the color and feel of the surrounding landscape with the color and tones on my pottery.    The flashing effect enhances the erosive color and patterns predominant in the weathering of an old barn door or the sedimentation of a large slab of sandstone.    I feel functional use of my work deepens the compositional awareness of the artwork and helps the user better develop his or her connection to the earth.     Texture is of equal importance in my pottery.     The majority of the textures on the objects I create also mimic the landscape.    I am influenced by, the jagged edges of the slick rock canyons, the evolution of sedimentation that makes a cliff band individualistic to its environment or the rays of sun as they set underneath a handful of weathering clouds.     I envision the work I create to be like subtle glances while driving a dusty stretch of a New Mexican highway