The human figure has always been the most effective vehicle for my artistic expression, whether in drawing, print-making, painting or ceramics.
I am particularly interested in faces that convey a quiet intensity. Faces of people who, engrossed in what they are doing - writing, thinking, reading, looking at others, or contemplating their surroundings - are unaware of being watched.
More recently, I have gone in a different direction, focusing on dancers caught in motion. The emphasis is on the dancers' joy in using their supple bodies as a means of self expression. For the dancers I have used both ceramics and papier mâché.
Other themes explored in my ceramic sculptures: "Fertile Heads," cachepots with one or more faces in high relief, often peering out of an encircling web of bands; the "Wounded," faces, in dark brown clay crisscrossed by white bands, that reveal features sometimes stoic, sometimes quietly resigned to suffering; "The Stuff of Dreams," heads blowing into the air a cloud of smoke (made of chicken wire) in which are trapped small tumbling figures; "Theatrical Ladies," actresses caught in an expressive gensture on stage; "Woodland Spirits," mysterious white mask-like faces peering out of logs or tree trunks entwined with ivy, flowers, grasses and leaves; and finally a series of "Bird People," men and women in highly textured clothing, in intense communication with crows perched on their shoulders and arms.