In my Italian family, good food and good company were always together. My ancestors channeled their abundance of creative energy into cooking and gardening and sharing. So to be making things today that sit at a table or hold something beautiful seems like a continuation of that same spirit.
It took a long time for me to find my way to being a potter and I danced around it for years. I went from studying Human Relations and Organizational Behavior at the University of San Francisco to Painting and Art History at the University of Vermont. I learned to speak Italian and traveled to Italy, immersing myself in the art treasures and the culture.
I have always been curious about technique and materials. I studied Sumi painting and Japanese calligraphy to learn brushwork. The hand-building and pit firing of the Native Americans drew me to several explorations in the Southwest . European and Middle Eastern tiles and glazes continue to inspire and confound. Working with Miranda Thomas, I grew in appreciation for the English country potters and their “Renaissance” in the early 20th century. I am in awe of the prints and tiles and textiles of William Morris and William DeMorgan.
Because pots and tiles tend to be things that provide a background to our daily lives, I think of them as part of life. Looking and living with things that are pleasing can be subliminal reminders of something cheerful or memorable. Making pots, I am reminded of gatherings in the kitchen and around a table with friends and family. I like to think that a dish or plate I make will hold good, earthy food and be part of a welcoming atmosphere.
