Collapsed Forms

Collapsed Monument, 2025. Glazed stoneware. 6 x 6 x 6"

Collapsed Monument, 2025. Glazed stoneware. 6 x 6 x 6"

Collapsed Monument, 2025. Glazed stoneware. 6 x 6 x 6"

Collapsed Form (Sand Castle SF), 2025. Soda-fired stoneware. 6 1/4" x 5 1/2" dia.


Collapsed Form (Textured Wall SF) 2025. Soda-fired stoneware. 5" tall x 3 1/2 " w x 3 1/2" depth

Collapsed Form (Textured Wall SF) 2025. Soda-fired stoneware. 5" tall x 3 1/2 " w x 3 1/2" depth

Collapsed Form (SF), 2025. Soda and salt fired stoneware (view 1).

Collapsed Form (SF), 2025. Soda and salt fired stoneware (view 2)

Collapsed Form (Textured WF), 2025. Wood-fired stoneware. 6 1/4" tall x 7" wide

Collapsed Form (Textured WF), 2025. Wood-fired stoneware. 6 1/4" tall x 7" dia approx

Collapsed Form (Wall SF), 2025. Soda-fired Stoneware. 6" tall x 4 1/2" w x 4" deep.

Collapsed Form (SF1 Wall), 2025. Soda-fired Stoneware. 6" tall x 4 1/2" w x 4" deep

Collapsed Form (Textured WF), 2025. Wood-fired stoneware. 7 x 5 1/4" dia.


Collapsed Form (Wall WF), 2025. Wood-fired stoneware. 6" x 6 1/4" tall x 3 1/8" deep

Collapsed Form (Wall WF), 2025. Wood-fired stoneware. 6" x 6 1/4" tall x 3 1/8" deep

Collapsed (Painting), 2025. Stoneware. 10" x 8 1/2" x 3 1/2"

Collapsed Form (Green), 2025. Porcelain. 4 x 4".

Collapsed Form (Green), 2025. Porcelain. 4 x 4".

Collapsed Form #1, 2025. Sagar-fired stoneware. 3 7/8" dia x 6" tall.

Collapsed Form (Blue Wall), 2024. Stoneware. 6 x 6"

Collapsed Form (Blue Wall), 2024. Stoneware. 6 x 6"
Collapsed Form (Blue Wall), 2024. Stoneware. 6 x 6"

Collapsed Form (Blue), 2024. Stoneware. 4 x 4"

Collapsed Form (Blue), 2024. Stoneware. 4 x 4". Top view.
Renewal
Lacebark Elm. 7" dia. x 14 1/4" tall

Lacebark Elm. 7" dia. x 14 1/4" tall

Consortium of Lichen, 7" dia. x 15 1/4" tall

Consortium of Lichen (detail), 7" dia. x 15 1/4" tall

Lecanora Polytropa, 3 1/2" dia. x 3" tall. Glazed stoneware.

Geode (looking in from the top). 5 3/4" tall x 5 1/4" deep x 5 1/4" wide. Stoneware.

Geode (side view). 5 3/4" tall x 5 1/4" deep x 5 1/4" wide. Stoneware.
Consortium of Lichen II, 7 1/2" x 14 3/4" tall

Consortium of Lichen II (detail), 7 1/2" x 14 3/4" tall

Pyrope. 2" tall x 3" dia. Glazed stoneware.

Foam I (second view), 2023. 7 1/2" tall x 3 1/8" w x 7" deep. Glazed stoneware.

Foam II, 2023. 7 1/2" tall x 3 3/4" w x 6 5/8" deep. Glazed stoneware.


Moss, 2023. 7" tall x 2 3/4" wide x 6 1/2" deep. Glazed stoneware.


Foam III, 2023. 8 1/2" tall x 2 3/4" w x 8" deep. Glazed stoneware.

Foam Tree III (top view), 2023. 8 1/2" tall x 2 3/4" w x 8" deep. Stoneware.

From left to right: small Slim Bark Vessel, 4 5/8" tall x 3"wide x 4 1/4" deep; Tall Slim Bark Vessel 8 1/4 tall x 2 3/4 wide x 8 deep; Medium Slim Bark Vessel, 5 5/8" tall x 2 7/8" wide x 5 1/8" deep.

3 Bark Vessels from left to right: Tall 9 5/8 tall x 3 3/8 wide x 9 3/8" deep; Small 6 1/2" tall x 2 7/8" wide x 5 3/8" deep; Medium 8" tall x 3" wide x 7 3/4" deep.
“Majolicas”

Zebra Mussels (detail), 2025. Stoneware.

Zebra Mussels, 2025. Stoneware. 2-part piece: the bottom pot is 9" wide x 4 3/4" tall; the lid is 4 1/2" tall x 7 1/2" wide (inside of lid shown)

Zebra Mussels, 2025. Stoneware. 2-part piece: the bottom pot is 9" wide x 4 3/4" tall; the lid is 4 1/2" tall x 7 1/2" wide (outside of lid shown)

Guam Invaders (from the top), 2024. 13 1/4" wide x 6 1/2" tall. Stoneware,

Guam Invaders (inside), 2024. 13 1/4" wide x 6 1/2" tall. Stoneware,

Guam Invaders (left is top and bottom, right is bottom), 2024. 13 1/4" wide x 6 1/2" tall. Stoneware,

Zombie Urchins, 2023. 12" w x 12" x 8" high. Stoneware.

Zombie Urchins (left is the inside, top on right), 2023. 12" w x 12" x 8" high. Stoneware.

Zombie Urchins (detail of inside), 2023. 12" w x 12" x 8" high. Stoneware.
Crossing the boundary between both Collapse and Renewal, the “Majolica” series reflect present environmental disasters and the hope for correction. Inspired by Bernard Palissy's (1510–1589) rustic-ware ceramics (which depicted nature and his fascination with the natural world), rich with diversity and absent any worries of loss. In the 1800s, Minton & Co. created “Naturalism Majolicas” one of the styles which became popular as the industrial landscape was growing and the realization that nature was becoming divorced from every day life. These Majolicas (though made of stoneware, not earthenware) reference climate change and man's interference in our environment.
Zebra Mussels: The lid and body of this pot has been taken over by Zebra mussels, just as these mussels are taking over our waterways and squeezing out the freshwater mussels which benefit the environment. Zebra mussels affect algal species, resulting in a shortage of food sources to native species of freshwater mussels and fish
Guam Invader: The outside represents Guam today invaded by Brown Tree Snakes among the flora of the island.
The inside represents the hope for the future, the Guam Kingfisher and Guam Rail who are now being bred in captivity with the hope that someday the snake will be eradicated and they will be able to return to the island.
During WW2, the US set up a military base on Guam (a US territory). Unfortunately, a hitchiking pregnant brown tree snake was on thte ship and proceeded to take over the islands eco system. With no predators, it wiped out many indigenous species including 13 of the 25 bird species, several lizards and still counting. Tree seeds, no longer spread by birds has led to a decline in the forests.
Zombie Urchins: The top presents one Sunflower Starfish, one Red Abalone, one kelp leaf (the key to aligning top and bottom) among an army of urchins. In contrast the hope for the future is depicted inside where you find 3 leaves of kelp with one Sunflower Starfish and one Urchin.
Off the cost of California a mass dying off of diseased Sunflower Starfish has resulted in armies of kelp-devouring urchins, turning the sea bed into a desert and endangering Red Abalone and other sea creatures. There are scientists hard at work trying various methods of saving this hidden environment.
Sculpture has allowed new opportunities for chance and experimentation in a 3-dimensional form. Pushing the unpredictable allows a higher risk and a greater reward.
My early 2-dimensional work was influenced by the rise of the digital in our world – at that time home computers and cell phones were beginning to be more widely accessible. My artwork embraced the possibilities and began using the computer to create new ideas around painting. As the digital became more prevalent in society I began to incorporate traditional work into the digital paintings creating hybrid works with references to nature, especially to Climate Change. The sculptures continue my concerns with climate change via 3 bodies of work which sometimes overlap:
Collapsed Forms: These works twist, contort and droop, they are all buckling, retreating from any ability to function. Dripping like sand castles or being torn apart, their forms may look like an animal, a bodily organ or simplly a blob-like undefinable object. They are exhausted, external pressures are pulling them down. This Series started with my concern over the climate crisis, and the collapse of habitats; they have now come to symbolize the deterioration of not only our environment, but the decay of systems we came to rely on: democracy, freedom of speech, women’s rights, immigrant rights and so much more.
In Praise of Nature: works that celebrate our natural world including trees, moss, rocks, stars, etc that symbolize renewal and hope. These works mimic the beauty of nature, expand and reference lichen, tree bark, mycelium, as well as our continued subjugation of the natural world
“Majolicas”: Specific examples of invasive species disasters and environmental effects from climate change (detailed description above).
Some works fall into multiple categories.