born 1944, Germany
grew up and educated, USA
lives Balmain, NSW

The material and symbolic qualities of clay and forms are of essence in my work. Whilst on one the hand ceramics references the earth and its ancient beginnings through its chemistry and the physicality of clay, it can also speak about our place in the contemporary world, how we live and respond to issues that confront us.
Whereas the beauty of the fresh plastic clay, its texture, the ridges left in the process of forming, the way it records every touch of the hand or tool is at the core of my work I also enjoy the form itself. I’m interested for instance in how the  finger or tool marks on the inside of the form interact with the form of the marks of the outside. These come together at the rim,  where inside and outside meet and unwittingly determine the shape and profile of the edge, just as the topographic shape of a mountain determines its form against the horizon.

I’m also interested how direct hand interaction with my materials becomes a metaphor for connecting with landscape and place and the consequent sense of belonging and of care for that environment. I believe that through direct interaction, be it with material or the landscape, through working, playing, exploring, one establishes memories and a love on which one can draw. It also keeps one fresh and open to the unexpected.

In my ship forms I explore our relationship to this country, its fragility and beauty, our migrant background, the loss of ancestral roots, our tenuous anchor, and our environmental awareness. The ‘boat’ form can for instance reference leaves, seedpods, lake beds, mountains or creatures. Upside down they resemble mountains ranges as seen from the air. Over the years I have produced a number of installation works that explore such issues on a larger scale.