Location: United States
I started life as a painter. I was mentored by Ilya Bolotowsky and Ibram Lassaw. I worked with notables such as Willem de Koonig, Jasper Johns, Roy Lichtenstein, Alphonso Ossorio and Larry Rivers. I worked as curator at The Parrish Museum in Southampton, The Guild Hall Museum in Easthampton, The Metropolitan Museum/Queens Museum and lectured at the Cloisters. And worked closely with Victor D’Amico on projects for the MOMA.
I started making pottery during my Master’s degree in painting at Pratt Institute. But it’s hard to make a living as an artist so I became an advertising Executive Creative Director/Art Director and film director. I ran several agencies, served on their Board of Directors, owned my own agency. and managed healthy profits for my clients.
I was an adjunct professor at The Art Institute of Phoenix, CMO at Arizona Clay Association and board member of the American Advertising Federation.
I never made a teapot in my life as a potter. I thought teapots were for hand builders and I was strictly a wheel throwing potter. During the pandemic, I was in my studio and like everyone else, I was antsy. A little claustrophobic. Stuck. I couldn’t work for weeks.
I saw a Clarice Cliff teapot and was struck by the simplicity of the lines. And the complexity of technique. I decided to give it a whirl. I could certainly make a teapot. It was just clay. Nothing to be intimidated by. I created these forms and added gold and silver lusters for accent in a third firing.
I’m proud to show this new collection that excites me. Until, of course, I do something completely different.
Wheel-thrown and hand-built porcelain, fired to cone 5 then luster fired with silver luster.
Wheel-thrown and hand-built porcelain, fired to cone 5 then luster fired with silver luster.
Emphatically Black is a fusion of industrial design and sculptural form. The matte black dome-like porcelain sculpture is punctuated by gold accents and functional elements, like a pressure gauge and coiled tubing, that hint at a story beneath the surface. It’s eclectic and eccentric. It honors the nuts-and-bolts traditions of both hard work and whimsy. Everyday objects are transformed, blurring the line between function and fantasy. An industrial/retro futuristic aesthetic.
“Lines of Controversy” is an industrial form with a retro-futuristic aesthetic. Everyday objects are reinterpreted. They create a consistent tension between function and fantasy. Visual intrigue through mechanical ambiguity. My work is uniquely conceptual and completely functional. It’s inspired by industrial objects, machinery and tools. It’s eclectic and eccentric. It merges art and engineering. It honors the nuts-and-bolts traditions of both hard work and whimsy.
“Spherical”
“Industrial Tea Boiler”
“Spring”
“Percolator, Too.”
“Emphatically Blank”
“Lines of Controversy”
