About the Artist

Higher Education

I entered Washington State University in 1966 as an art major. My first ceramics class was in 1968. Don Sprague and I became acquainted about that time. Don Anawalt was the associate professor of the newly formed department. He was able to expand the program into the basement of the old Commons Building. The basement was an old kitchen with coolers for drying rooms and lots of space. Don Sprague and I shared a small studio space as upperclassman. We dug wild clay in Idaho, fired our efforts in a large catenary kiln, and had wood fired raku kilns in an old silage silo. I left there with an imbedded desire to be a potter. One evening Don Sprague said to me. “You know, we’re going to be doing this the rest of our lives.” I don’t think either one of us knew how profound that was. I graduated with a BFA in 1970.

After knocking around for a few years, I ended up in Portland, Oregon in 1973. I produced pottery at a cooperative workshop and was accepted to graduate school at Michigan State University in 1974. Lou Raynor was the primary professor. I was introduced to the work of John Glick, Cynthia Bringle and generally different trends than those of the Portland Area. I graduated with an MFA in 1976.

Upon returning to Portland in 1977, I was awarded a Potter in Residence grant by Contemporary Crafts Gallery. That grant culminated in a show at the Gallery and also with an article in Ceramics Monthly by Lukman Glasgow, in February of 1979. During that residency, I purchased a used airbrush and began decorating pottery with airbrush designs. In the early 80’s, I was featured twice in a short lived publication, Airbrush Digest. Also in the 80’s, I was featured a few times at the Lawrence Galleries in Sheridan, Oregon and Salishan. Through the 1980’s and up until 1997, I participated in the Bellevue Arts and Crafts Festival. In 1997 there was a cameo photo and brief mention in American Craft magazine. In the 1990’s I had several shows at Northwest Crafts Center with Reid Ozaki and sometimes Don Sprague. A postcard announcement for the 2002 show was sent to the Smithsonian American Art Museum, Renwick Gallery. I received a phone call at the opening of that show from Kenneth Trapp the Curator-in-Charge and the piece on the postcard, Dragonfly Dance, was acquired by the Renwick and became part of the permanent collection. It was on display for about 10 years until there was a renovation of the building.

Other Influences

The ranch where I grew up included the remnants of the railroad boom town of Ferry, Washington on the Canadian border. On that townsite were many fragments of 19th century blue and white chinaware which intrigued me. While earning my bachelors degree, I read a book about Picasso’s ceramics. There were oval platters with brightly painted fish that also inspired my work. I wanted to paint and decorate on pottery but had a very limited chemical knowledge of ceramic pigments. In 1971 I worked at Pacific Stoneware for Bennett Welsh, and he became a source of technical and practical knowledge until his death. Not only was he a mentor to me but to many other potters in the region. Also at that time I viewed a show of Tom Coleman’s early porcelain. At the time his pieces were very much influenced by Asian design and decorated with wonderful traditional brush work. I had no idea how he did that, but it rekindled my desire to paint on pottery.

A 40 year collaboration and friendship with Reid Ozaki has definitely influenced my career and work. The same can be said for Pat Horsley, my go to guy for technical advice and information.

Portland experienced a bit of a Crafts renaissance from the late 60’s forward. There were many potters, galleries, art fairs, and a Saturday Market which provided a lot of interaction between craftsmen and the availability of work to view and be inspired by. Portland also offered a great supportive public which enabled many artists to sustain a creative lifestyle.