sources of inspiration. I find inspiration in textiles (Liberty prints, vintage kimonos),
wallpapers (Charles Burchfield, William and Morris), graphics (Chinese paper cutouts, Japanese family crests) and pottery traditions from all over the world.
You must come across every style of tableware from every region
and era. Can you tell us about the most special piece you’ve ever
worked with?
I have been very fortunate to work with some incredible pieces. I’ve been on shoots
with armed guards to protect the merchandise! One of my luxury clients (Holland
America) uses Bvlgari Rosenthal china in their upscale dinning. The Bvlgari and
Versace Rosenthal china are over-the-top beautiful. Ironically, my most treasured
piece from my personal collection is a café-au-lait bowl I bought for five dollars at the
Sandwich Antique fair many years ago. It’s French, mid-late 19th century, white with
an orange glaze pattern on the outside, and a clear cracked glaze stained from coffee
on the inside. It only leaves my studio for very special clients.
pattern. Then I do some drawings on
paper. Meanwhile the piece has to stay
hydrated and dry evenly to make it
through the firing process. Glazing is
all about chemistry. There are so many
variables, it is nearly impossible to have
predictable results. You really have to let
go and enjoy the magic.
What’s your creative process? Do you start with an end product in
mind or do you just see where the clay and glazes take you?
Clay is living, organic matter that needs a lot of attention. Negotiating with the clay
definitely plays into how the piece is manifested. First I throw a shape. I usually
start with a classic silhouette and subvert it. I consider the positive and negative
relationship within the shape and what kind of rhythm I want to create with the
Where and when do you
work best?
I like to draw at home in the morning
when I first wake up. Then I walk or
bike to my personal studio or the clay
studio (Williamsburg Ceramic Center).
I like to work in concentrated chunks of
time. Working as a stylist and an artist
dovetails perfectly. This last year I’ve
been working on an ad campaign for
Marriott. We traveled around the world
shooting properties two to four weeks at
a time with a month off in-between. I get
