Morphing from a painter to a sculptor went in several directions in this period. I drew from a hodge-podge of interests that I found editing down into coherent subject matter a challenge. I kept sketchbooks and did drawings based on these, and created work that referenced two-dimensional representation.
I became interested in creating a world that looks like it had its own internal logic, its own history and mythology, like archeology of some undiscovered plane of existence. My work tends to be more cohesive when it is all together in my work space, which meant a lot of challenges when it had to leave my studio to be in a show or to be photographed.
I enjoy working with the texture and process of clay. I build up layers of organic surfaces, and apply media like underglazes, slips, oxides, and stains that don’t get glossy when fired. I like glaze on pottery, but find it difficult to control when trying to achieve a surface like painting and drawing. Fortunately underglaze chalk pastels and Duncan E-Z strokes come in colors that can be very versatile.
Toward the end of my first stint at CCA, people were encouraging about the direction I was going, but I was encouraged to really find one subject to focus on to bring more thematic unity to my work. The Vermeer painting I did a study for shown below was a big influence on me, with the spheres, the maps, the compass, the robe on the scientist and the glorious light that pours over everything.