I think of my recent work in clay as combining the motion, rhythm and dynamics of both music and dance to produce purely sculptural forms. References to nature are implied and abstracted.
I usually begin my work constructing cylinders of varying dimensions. I have a feeling or rough idea for a form I wish to make. I then decide how I can bend and manipulate the clay to show motion. I stretch the clay pushing from the inside and adding or cutting the form, keeping in mind it is movement I wish to convey. I work intuitively until I have reached my goal of an integrated work.
Clay objects have been one of the oldest forms of artistic expression and for my surfaces I use one of the oldest forms of treating surfaces–terra sigillata. While I am constructing my sculpture the surface and its fin
EDUCATION AND TRAINING
1969-present | Greenwich House Ceramics
2003-2011 | 63rd YMCA Ceramics. Teachers: Bill Lau, Chris Gustin, Kate Missett, Michael Boyer, Anna Siok & Elise Siegel
1975-1978 | New York University: MS in Education, Reading/Learning Disabilities
1953-1957 | Teachers College, Columbia University: MS in Music
1949-1953 | City College of New York: BS in Education-Music
1938-1944 | Studied dance with Lillian Rosenberg, exponent of Isadora Duncan
1938-1951 | Third Street Music School and private instruction
April 13-May 5, 2013 | Woodstock Artists Association & Museum, “I Dream I’m Dancing.” Selected out of 68 entrants by jurists Michael Hall and Stamatina Gregory. Michael Hall is an artist and Managing Director of the Armory Show. Stamatina Gregory, an inde