Early Ceramics and Glassblowing

1972–1980

My involvement with ceramics and glassblowing began in earnest at Kent State University in 1972, alongside my studies in sculpture. I was drawn to the physical immediacy of these processes—transforming clay and molten glass through the interaction of hand, material, and heat. Glassblowing was particularly exciting under professor Henry Halem, whose enthusiasm and encouragement helped convince me that a professional life in art was possible. Both mediums offered opportunities to explore volume, line, movement, and the expressive possibilities of the vessel.

During the summers of 1973–1976, I worked as a production potter at The Good Earth Pottery in Kennebunkport, Maine, which I helped establish with friends and owners David and Diane Jenkins. We produced functional stoneware—mugs, bowls, teapots, and other vessels—for sale in our gallery and shop. Alongside this production work, I created more experimental, sculptural pieces that pushed beyond conventional function. The experience demonstrated that I could support myself through making and selling my art, strengthening my commitment to a professional artistic career.

While pursuing my MFA in sculpture at Cornell University (1974–1976), I established a small pottery studio and raku kiln at my home in nearby Ludlowville, New York. Raku firing, with its dramatic interplay of flame, smoke, and glaze, offered a compelling balance of control and unpredictability. My vessels became increasingly sculptural, incorporating unconventional handles, exaggerated proportions, and expressive forms that challenged traditional function. I continued these explorations after moving west to teach at the University of Wyoming in 1976.

Although stone and steel eventually became my primary materials, these early experiences with clay and glass established an important foundation for my sculpture. The vessel would later emerge as a recurring metaphor for the individual, the human condition, and life's journey. Equally significant was learning to work directly with materials, allowing their inherent properties and the processes of making to shape the finished work.

I see these early ceramic and glass pieces not as separate from my sculpture, but as an essential part of its evolution.