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...In life an artists sources of inspiration are unlimited. I am influenced by Native American artists, ancient and present day. Their reverence for nature is easily observed. A wealth of ideas can be found by studying these works. I combine my creative power with a respect for the primitive past to transform the images within me into art.
My most resent work has evolved out of deep sorrow. I have dedicated the Funerary Series to my oldest daughter, Gretchen, who we lost to cancer August 6, 2002. She requested that I create a Resting-place for her ashes to be given to her husband and one for my family. I have embarked on a new journey to create beautiful funerary vessels, urns, and reliquaries to help other families honor their loved ones who have passed on. Gretchen is guiding my hand and is the inspiration in my quest to find the means to honor the ones we love. This collaboration with the spirit, to illuminate the darkness that we must pass through, has been a very healing way to work through my grief.
Several firing techniques have been used in this body of work. I find it an intriguing challenge to mix these varied media, as in a collage, there by creating a totally new feeling but still noticeably highlighting each individual technique."
 My home and studio lie in the shadow of Horsetooth Mountain, along the majestic walls of Redstone Canyon, Soaring Eagle Studio has a quiet view overlooking the 100 million year old rocky spine of Devil's Backbone. It takes the eye into the Big Thompson River Valley that is Loveland, Colorado. Deer graze, while families of eagles take flight school. Adults soar, then the young ones try their wings. The vibrations and inner spirit of these surroundings give me a continual supply of new ideas. The process of forming these ideas into art, keeps me focused on ever improving my technique and my work.
The techniques I employ are:
Handbuilding is my urging the clay to take on the shape I see in my inner spirit. The piece emerges without the use of a wheel.
Raku, a 400-year-old process from Japan involves removing a red-hot piece from the kiln to plunge it into a waiting trash can filled with combustible material for reduction. The artist becomes more intimately involved with each piece while it is being changed by the fire.
Low fire temperature achieves the bright colors of the glaze.
Sawdust or Smoke fired pieces are unpredictable and always new. The flame painting gives the random beauty of nature. After being bisque fired these pieces are put into a metal container with combustibles, set afire and allowed to smoke.
Oxide stains give a soft velvety hue. They are also fired to high temperatures on porcelain and red stoneware to give the feeling of wood.
Wipe on wipe off is subtle allowing only the glaze in the recesses, cracks, and crevices to remain thereby accentuating the texture formed naturally by the clay.
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