Having arrived in Montreal in 1960 I had no access to ceramic equipment to establish a direction in my chosen field.  It was easier to apply my abilities to printmaking, particularly woodcuts which requires a lot less space and investment.  No press was required as prints were hand-rubbed in small limited editions.  My work was being accepted into national and international exhibitions which encouraged me to continue in this medium.

In the late 60’s early 70’s I re-entered the production of ceramics and ran a parallel study of both mediums.  Eventually clay rekindled the need to research certain aspects of the medium, allowing me to exploit an area initially unexplored but of great interest.  I concentrated in the production of “raku” ceramics, a traditional oriental technique associated with the  “Japanese tea ceremony”.  I studied the traditional technique and applied it in a more contemporary approach.  Because of the intensity of the work, I was obliged to step back from printmaking and concentrate entirely on ceramics which in reality was where I belonged.

My clay work speaks for itself.  From the mid 70’s through 80’s exploring the “raku” fired clay process I travelled through the production of the thrown vessel and sculptural forms applying a variety of researched glazes to the pieces.  It has been my intention to eventually simplify the firing technique with only the reduction effect evident on the clay.   In the 1990‘s to the present as the ceramic works developed and became larger and more sculptural, applied decoration was added after the firing.  It was superimposed using mixed media following a pre-destined theme throughout.  This work has steadily evolved over the last twenty years.

Interspersed between bodies of work in clay I reflected on my ability as a painter. I executed works that would give me great comfort and security in knowing I still had drawing abilities and needed to periodically maintain the foundation skills that influence all creative aspirations.

My more recent work involves the production of montages using mixed media.  The thematic imagery used in my clay work carries over into this work which I feel compliments the overall presentation.

In review of my many years of study research and production, there is no greater feeling than a sense of personal accomplishment on the completion of a body of work that stretches one’s physical capabilities of the medium as well as attesting to a thematic design component.

The challenge is omnipresent and there to be resolved.  Constantly re-inventing one’s work is an essential part of the process which encourages the creative energies to prevail.  Regardless of medium my work will continue to invite the need to perform in a manner befitting that challenge.