I'm somewhat obsessed with the idea of memory, reaching into the possibility of a past I could have lived. My work tends to be reconstructions of what I could have done with my studio experience in Kansas City if I hadn't been in such a hurry to get on with "life". And although Kansas City Art Institute, Ken Ferguson's and Victor Babu's studio classes, offered a kind of "ideal" environment, later enrolling at University of Kansas involved me in the research, experience, and memories of others, the tenures of Sheldon Carey, and Bill Bracker, Dave Vertacnik, Joe Zeller, and Vernon Brejka. Hence I view the pot as kind of an archeological metaphor for an imaginary hypothesis, as well as a totality of geological, botanical, functional, sculptural, gestural, visceral, ornamental, decorative, culinary and formal qualities. It is in going across several disciplines where integration with the real world takes place. It is in getting something of worth from the ivory tower and putting it out there where it can be used, touched, and felt. It is in thinking about clay in this way that keeps it interesting.
