Physicality and sensuality are defining words of the ceramic work. There is nothing between the artist's hands and the material, and I enjoy that direct contact.
Porcelain is the clay of choice for my type of work because of its intrinsic qualities such as plasticity, strength, luminosity and fine texture.
From my years growing up in France, I kept a passion for "Haute Couture", Madeleine Vionnet's complex draped designs and Christian Lacroix's opulent and elaborate fantasy creations.
Clay and fabric share some similar, yet contrasting, properties. Supple or stiff, heavy or light, soft or rough, smooth or textured, they can be draped, folded or wrapped.
To create my sculptures, I often like to pile thin slabs of smoothed or textured clay in either random or pre designed shapes to create the illusion of an accumulation of cloth. I may brush on slips or sponge on oxides to create shadows. I then spray transparent satin glazes.
I also like to capture the motion of cloth on a body and try
to duplicate the sensuous curves of folded pieces of fabric.
In either case, I want to attract touch; fingers following over contours, in and out of the nooks and crannies, providing a sensual experience.
I find the irony of juxtaposing the qualities of movement with the static features of clay both fascinating and challenging.
