The white gate is derived from a photograph of my grandmother when she was a child. A long fence behind her defined the horizon in this photograph. I use the reference to define points of transition between realities.
Half After Five O'Clock
Half After Five O'Clock is a solarplate intaglio print using collaged photographs of my grandmother and a crow, direct exposure of the plate to an antique handkerchief, and drawings on transparency. When I first discovered xerox-transfer lithography, many of my lithographs incorporated old family photos. This photograph of Eliot Thankful Morrissey was taken in a studio. I brought her outside into a forest where curious crows attend her.
All the Time
Solarplate intaglio print on Rives BFk. This is a companion piece to Half After Five O'Clock. Here the crows contemplate the absence of the person who had occupied the chair, and their attention indicates that there may be still a living presence. One moment in time being "all" the time in the moment.
Lithograph on Rives BFK
A collage of images from a beautiful place I once lived, drawn onto stone and printed in an edition of 12. (20x30")
Press molded stoneware with underglaze decoration. 8" diameter.
Linocut made in response to a question of "Why" posed by the curator of a traveling international exhibit called "The Scrolls". 6"x 6". 2006.
The Way I Read It
This large linocut began when I was making a series of Ceramic hearts and using newspaper underneath. When I lifted the heart, I found the marching feet of the local highschool'a ROTC. This was during one of the periods of escalation of combat in the Middle East. Neighbors had suggested to me that war between Muslims and Christians was inevitable and that the Bible said so. I have always taken the New Testament to be about loving one's neighbor, so I used this print to express my point of view.
I enjoy utilizing a medium (print) that has a rich history of publicizing opinion. Repetition is powerful.
One of the ceramic hearts I've made over the years.
I enjoy the iconic shape and sgraffito surface design. I was thinking of Van Gogh's Field of Crows, and the crows my brother, Pieter, and I used to call from my grandmother's window.
5" high, stoneware with underglaze.
At the Penland School of Crafts, I took "Sounding Clay" with Brian Ransom. We learned to make tuned whistles, flutes, and drums. This swan is based on a Peruvian pot flute, and the neck holds a mouthpiece which, when blown, lets out a low note that can be slid upward with the distance of the hand from the opening in the belly.
The gracefulness of birds.
Stoneware with terra sigillata. 17" high.
Thrown double-walled and then carved.
Stoneware, 4" high, 7" diameter. 2016
I have been making bird forms for 25 years, first as wall-hanging planters, then as bowls. They embrace and nurture their interior.
This group is earthenware, thrown and altered.
Two Birds Bowl
Marriage bowl, two birds together nurturing their nest.
This bowl is part of Menagerie, a national Juried show at Baltimore Clayworks, opening May 13th, 2016.
I am honored that the juror, Jenny Mendes, selected it.
Water Lilies Dress
Empty dresses suggest femininity and as wall-hangings become shaped canvases for decoration both in relief and in color.
Porcelain with glaze and underglaze. 8" high.
The Dress that Must Go
Sometimes words are enough. Sometimes they are too much.
Stoneware. 17" high.
I enjoy using stamps and sprigs to create pattern through repetition.
A Dainty Dish
Dish This dress refers to the Mother Goose Rhyme that begins with "Sing a Song of Sixpence" and refers to a practice common in the time of Henry the 8th, baking live birds into pies in order to make a spectacle when the pie was served. Strange songs sung to children compare strangely to their innocence.
Stoneware, 22" high.
Ideas of flight and internal reality emerged in this piece and have persisted.
Porcelain. 10" x 5" x 5".
Rock of Ages
This dress honors my father's lithograph of the same title In his, smll bodies cling to a large rock, and some fall away, possibly referencing his experience as a prisoner of war during the Nazi occupation of Poland. My figures ascend together.
Here, she is lighter than a feather but altogether real.
5" x 9"
Challenged to make a coil pot that was "visually light", I made this in 2015. Finally the gestural dress is "off the wall" and freestanding, but upside down.