In September of 2002 I began working with Ray Meeker at the Golden Bridge Pottery, and in the immersion of my life in the medium of clay I have found a dynamism that combines the plastic arts with the drama of performance.
Vigorously centering 18 pounds of clay on the wheel and pressing it down into a furrowed slab that is then stretched, I produce crack-textured discs, called 'churnings'; a concept drawn from Indian mythology in which gods and demons churn the ocean, separating nectar and poison.
In a parallel search for simplicity, surety and stability, I have been inspired by Sengai's seminal Zen painting of the circle, square and triangle. I have been exploring 'root forms'; rendering them in three dimensions as a sphere, a cube and a tetrahedron.
And while playing with some scraps, I pressed a tiny ball of clay between the index finger and thumb of both hands and discovered what I call a tetrarc. Scaling up this half-inch maquette to 18 inches, I arrived at a surprisingly compelling form which has been variously described as a hyperbolic paraboloid, an axe, a whale's tail, a vertebra from the spine; the tetrarc has grown to be the spinal column of my artistic life.