My work is drawn to the stories embedded in form and surface—stories that speak of human presence, human-centered values, and the layered history of the earth itself. I am influenced by the cliffs of the Kootenay Mountains where I live and work, by the female form as a source of nourishment and continuity, and by the water and earth from which clay is formed. These influences find their way into vessels that explore transformation, impermanence, and the ongoing dialogue between opposites.

Clay holds geological memory. Glaze carries chemical and atmospheric possibility. Through making, testing, and firing, each vessel becomes a quiet record of these processes. I think of clay as frozen movement, and of finished work not as a conclusion but as a moment within a longer material conversation.

Atmospheric firing is central to my practice. The kiln becomes an active collaborator—something like a small volcano—where heat, chemistry, and chance intersect. I am particularly interested in how glazes respond to atmosphere, how surfaces shift under different firing conditions, and how unpredictability can be approached with attentiveness rather than control. These experiments often raise more questions than answers, and that ongoing inquiry is what sustains my work.

Over time, I have become more comfortable with the unfinished and the evolving. My functional pottery is not meant to resolve ideas but to hold them gently. The tension between movement and stillness, utility and contemplation, is present in every piece I make.

I find deep satisfaction in knowing these vessels enter daily life—into kitchens and onto tables—where they carry their quiet histories forward, offering a silent presence shaped by earth, fire, 

my thanks

Diane