My latest art form originates in the pueblo tribes of New Mexico and the four corners region. Although I am not affiliated with any native group I try to model my techniques after those of the Santa Clara and San Ildefonso pueblos.

Due to a lack of natural clay deposits nearby, I can't dig my own clay, so I buy a local white clay and a commercial red clay to work with. To this I add volcanic sand that I collected in Arizona on a past trip. On occasion I paint my works with a red slip ( clay in liquid form ) I brought back from New Mexico.

Building up my pots with coils, I only use my hands and a few simple tools, ( like a butter knife I found ). No pukis ( a round bowl to shape the base of a pot ), wheels or molds are used in my pots. After each piece is formed, I carve in my designs while the clay is still leather hard.

The next step is a brief sanding to smooth out the surface. A slip is added and polished with a stone while still wet. After the polished surface is dry, I add a coating of lard or oil and let it dry. After a few hours on the shelf, I polish the surface again to a glassy finish. It is ready to be fired.

Usually I wait until I have two or three pots before I start the firing process. To prepair for the fire I collect some old school notes or newspapers. Then, I find scrap wood, twigs or branches that are lying around. Next, I build a small pile of fuel at the bottom of my firing can. Next I stack up four pillars of old steel food cans for supports, and lay a metal grate on top. The pots are placed on this grate, some more fuel added and the fire started.

For about an hour or two I burn my latest creations in my low tech "kiln." For a black color I close the can while the fire is raging hot to generate a reduced burn. For a combination of colors I monitor the fire keeping it in a semi reduced atmosphere.

If you would like to know more, feel free to email me.