Porcelain is a fascinating medium. For thousands of years, back to the early Chinese dynasties, it has challenged potters. This distinguished past is known, respected and used as sources of inspiration today.

I work in porcelain because I like this challenge, the translucency, the necessity for clarity of form, the whiteness which reacts with light, giving glazes depth and purity of color. My landsacape pots are inspired by the mountains of North Carolina, early in the morning or at sunset. The whiteness of the porcelain is used as a background for the color and brilliance of the overlapping glazes.

The pots I make are one-of-a-kind with an implied use, but they are as likely to function as art objects as serving pieces. My pots are made on the potter's wheel, glazed with my own glazes and fired in a reduction atmosphere to approximately 2300 degrees in a twenty-two cubic foot catenary arch kiln, which I built. Firing influences color; a kiln atmosphere in which oxygen is reduced and more carbon is produced will result in the copper reds and celadons which often are evident in my work.

My feeling about my art is best stated by Herbert Read, the British art critic: "The art of pottery is, of all arts, the one that fuses together in indestructible unity earth and heaven, and matter and spirit."